“King Richard” got a big boost in its bid for Best Editing at the Oscars with a win at the Ace Golden Eddie Awards on March 6. It prevailed in the drama race at these awards bestowed by American Cinema Editors over two of its Oscar rivals –“Dune” and “The Power of the Dog” — as well as “Belfast” and “No Time to Die.”
Another of the Oscar nominees, “tick, tick…Boom!,” won the comedy/musical category over the fifth Oscar contender, “Don’t Look Up,” plus “Cruella,” “The French Dispatch” and “Licorice Pizza.”
Since 1990, the film that came up with one of the ACEs went on to take home the top prize at the Academy Awards 18 times, including the 2020 winner for best drama editing, “Parasite.” And in nine of the 13 years when the Ace barometer was wrong, at least one of the Eddie champs was a contender for Best Picture. Last year’s drama winner,...
Another of the Oscar nominees, “tick, tick…Boom!,” won the comedy/musical category over the fifth Oscar contender, “Don’t Look Up,” plus “Cruella,” “The French Dispatch” and “Licorice Pizza.”
Since 1990, the film that came up with one of the ACEs went on to take home the top prize at the Academy Awards 18 times, including the 2020 winner for best drama editing, “Parasite.” And in nine of the 13 years when the Ace barometer was wrong, at least one of the Eddie champs was a contender for Best Picture. Last year’s drama winner,...
- 3/6/2022
- by Paul Sheehan
- Gold Derby
The American Cinema Editors used their Ace Eddie Awards on Saturday to fire back at the Oscars. Facing declining ratings and long running times, the Academy, the Oscars ceremony producers and ABC decided to award Oscars for editing and seven other categories outside the live telecast. Ace board member Kevin Tent introduced the awards saying, “There might be some setbacks and slights at times which can sting.”
Hacks editor Susan Vaill used her speech to implore everyone from PAs to other crafts to amplify each other, in order to “make those people who don’t think we should be on the broadcast listen.” tick, tick… Boom! editor Myron Kerstein concluded his speech by saying “present all 23” categories.
Deadline spoke with other nominees prior to the show. They shared degrees of disappointment, some understanding and hope for future inclusion. Andrew Weisblum won an Eddie with Kerstein for tick, tick… Boom! and...
Hacks editor Susan Vaill used her speech to implore everyone from PAs to other crafts to amplify each other, in order to “make those people who don’t think we should be on the broadcast listen.” tick, tick… Boom! editor Myron Kerstein concluded his speech by saying “present all 23” categories.
Deadline spoke with other nominees prior to the show. They shared degrees of disappointment, some understanding and hope for future inclusion. Andrew Weisblum won an Eddie with Kerstein for tick, tick… Boom! and...
- 3/6/2022
- by Fred Topel
- Deadline Film + TV
“The Velvet Underground” marks Todd Haynes’ first foray into documentary filmmaking, and with the film on the Oscar documentary shortlist, Haynes could find himself making the cut for best documentary feature come Feb. 8. But when Haynes was first developing the project years ago, one of the hurdles he had to overcome was the fact that very little footage existed of the hugely influential rock band.
“What existed was entirely within the cinema of Andy Warhol, and they had a very close relationship to the avant-garde film world,” Haynes said of the group, which came out of Warhol’s Factory scene in 1960s New York.
With that as the groundwork, Haynes told his editors, Affonso Gonçalves and Adam Kurnitz, that the film needed to be visualized by the artists and people who were there. Through doing that, the audience is transported into the visual and sonic world of Lou Reed, John Cale...
“What existed was entirely within the cinema of Andy Warhol, and they had a very close relationship to the avant-garde film world,” Haynes said of the group, which came out of Warhol’s Factory scene in 1960s New York.
With that as the groundwork, Haynes told his editors, Affonso Gonçalves and Adam Kurnitz, that the film needed to be visualized by the artists and people who were there. Through doing that, the audience is transported into the visual and sonic world of Lou Reed, John Cale...
- 2/1/2022
- by Jazz Tangcay
- Variety Film + TV
The nominations for the 2022 Ace Eddie Awards announced on Thursday (Jan. 27) include our Oscar frontrunner for Best Film Editing, “Dune,” along with three of the other four films we’re predicting to reap bids in that race: “Belfast,” “Don’t Look Up” and “The Power of the Dog.” While “West Side Story” was snubbed by the American Cinema Editors we expect it to be the fifth Academy Awards contender.
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals.
“Belfast,” “Dune” and “The Power of the Dog” contend here in the drama race, which is rounded out by “King Richard” and“No Time to Die.”
Facing off against “Don’t Look Up” on the comedy side are “Cruella,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
In 1992, the Eddies went from three to five nominees (matching that of the Oscars) and in 2000 it split the award in two,...
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals.
“Belfast,” “Dune” and “The Power of the Dog” contend here in the drama race, which is rounded out by “King Richard” and“No Time to Die.”
Facing off against “Don’t Look Up” on the comedy side are “Cruella,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
In 1992, the Eddies went from three to five nominees (matching that of the Oscars) and in 2000 it split the award in two,...
- 1/27/2022
- by Paul Sheehan
- Gold Derby
The American Cinema Editors (Ace) has nominated “Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” in the category of feature film drama at the 72nd annual Ace Eddie Awards.
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
- 1/27/2022
- by Jazz Tangcay
- Variety Film + TV
The American Cinema Editors has spliced together the nominees for its 72nd annual Ace Eddie Awards.
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
- 1/27/2022
- by Erik Pedersen
- Deadline Film + TV
“Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” have been nominated as the best dramatic film editing of 2021 by the American Cinema Editors, which announced the nominees for the 72nd annual Ace Eddie Awards on Thursday.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
- 1/27/2022
- by Steve Pond
- The Wrap
When Affonso Gonçalves and Adam Kurnitz started the process of editing the documentary, “The Velvet Underground,” the full structure of the movie hadn’t been developed yet. But director Todd Haynes already had an idea of how he wanted to put this thing together. “Todd had an idea to use ‘Chelsea Girls’ as sort of a template for how we’re going to present the images and the interviews and we could move forward from that,” Gonçalves tells us during our recent webchat (watch the video interview above). Midway through the process, both Haynes and Gonçalves had to stop to go work on “Dark Waters” but Kurnitz stayed and continued the process. “Adam was the one that expanded and tried different things like multiplying images and stuff like that.”
“The Velvet Underground,” which is currently streaming on Apple TV+, chronicles the band that was comprised of Lou Reed, John Cale,...
“The Velvet Underground,” which is currently streaming on Apple TV+, chronicles the band that was comprised of Lou Reed, John Cale,...
- 12/15/2021
- by Charles Bright
- Gold Derby
The Oscar-contending documentary The Velvet Underground, about the influential 1960s avant-garde rock band fronted by Lou Reed, has been praised as a “superb testament to a lost world that helped make our own.”
Those words come from New York Times critic Manohla Dargis, who listed The Velvet Underground as number three among her choice of the year’s best films—fiction or nonfiction (her colleague A.O. Scott also put it on his top 10 list).
The praise not only recognizes the work of director Todd Haynes—the longtime filmmaker who makes his documentary debut with The Velvet Underground—but his collaborators, including editors Affonso Gonçalves and Adam Kurnitz, and cinematographer Ed Lachman.
Over the course of his long career, Lachman has shot documentaries and scripted films, and earned Oscar nominations for two of Haynes’ dramatic features, Carol (2015), and Far From Heaven (2002). He says he doesn’t alter his approach to photography...
Those words come from New York Times critic Manohla Dargis, who listed The Velvet Underground as number three among her choice of the year’s best films—fiction or nonfiction (her colleague A.O. Scott also put it on his top 10 list).
The praise not only recognizes the work of director Todd Haynes—the longtime filmmaker who makes his documentary debut with The Velvet Underground—but his collaborators, including editors Affonso Gonçalves and Adam Kurnitz, and cinematographer Ed Lachman.
Over the course of his long career, Lachman has shot documentaries and scripted films, and earned Oscar nominations for two of Haynes’ dramatic features, Carol (2015), and Far From Heaven (2002). He says he doesn’t alter his approach to photography...
- 12/10/2021
- by Matthew Carey
- Deadline Film + TV
Edgy rock band the Velvet Underground was an outgrowth of manager Andy Warhol’s avant garde art movement that over time has emerged as one of the most influential groups of the 1960s and ‘70s. It also exerted a powerful influence – particularly in the image crafted in Warhol’s films – on the way filmmaker Todd Haynes presented the group onscreen in the documentary The Velvet Underground.
“What we all felt when we were making this movie is that it was about a really specific time and place that produced this band, in which questions about art, and aesthetics and life and meaning were circulating, and changing what seemed possible,” Haynes, whose narrative films include Carol and Far From Heaven, said at Deadline’s Contenders Film: Documentary, appearing on the panel with editor Adam Kurnitz.
Noting that “a very transgressive kind of subject matter that was being introduced by this band,...
“What we all felt when we were making this movie is that it was about a really specific time and place that produced this band, in which questions about art, and aesthetics and life and meaning were circulating, and changing what seemed possible,” Haynes, whose narrative films include Carol and Far From Heaven, said at Deadline’s Contenders Film: Documentary, appearing on the panel with editor Adam Kurnitz.
Noting that “a very transgressive kind of subject matter that was being introduced by this band,...
- 11/21/2021
- by Scott Huver
- Deadline Film + TV
The Critics Choice Association awarded “Summer of Soul” the top prize at the sixth annual Critics Choice Documentary Awards, which honors the best achievements in nonfiction released in theaters, on TV, or on major digital platforms. Ahmir “Questlove” Thompson’s look at the 1969 Harlem Cultural Festival took home the most awards of any film, with five in total.
This year’s nominees were led by “Ascension” and “Summer of Soul,” two films by first-time documentarians. Each had six nominations. But “Ascension,” Jessica Kingdon’s look at the pursuit of the Chinese dream, failed to score any prizes November 14.
“Summer of Soul,” which won the top documentary prize and an Audience Award following its Sundance premiere earlier this year, won five of the six awards it was nominated for at the critics awards: Best Documentary Feature, Best First Documentary Feature, Best Editing, Best Archival Documentary, and Best Director, a prize Thompson...
This year’s nominees were led by “Ascension” and “Summer of Soul,” two films by first-time documentarians. Each had six nominations. But “Ascension,” Jessica Kingdon’s look at the pursuit of the Chinese dream, failed to score any prizes November 14.
“Summer of Soul,” which won the top documentary prize and an Audience Award following its Sundance premiere earlier this year, won five of the six awards it was nominated for at the critics awards: Best Documentary Feature, Best First Documentary Feature, Best Editing, Best Archival Documentary, and Best Director, a prize Thompson...
- 11/15/2021
- by Chris Lindahl
- Indiewire
Jonas Poher Rasmussen’s singular animated doc Flee and Ahmir “Questlove” Thompson’s Sundance Grand Jury Prize winner Summer of Soul will head into the 15th annual Cinema Eye Honors as the leaders in nominations, Cinema Eye announced today.
Flee led all films with seven nominations, with Summer of Soul claiming six. Jessica Kingdon’s Ascension, Jessica Beshir’s Faya Dayi and E. Chai Vasarhelyi and Jimmy Chin’s The Rescue followed with five noms apiece, with Todd Haynes’ Apple pic The Velvet Underground claiming four. HBO led all distributors with 16 nominations, with Hulu notching 12. Nat Geo and Neon followed with 11 each.
Of particular note with regard to the noms list was a newly introduced category for Outstanding Sound Design, which will see All Light, Everywhere contending alongside Faya Dayi, Flee, Summer of Soul and The Velvet Underground.
The award ceremony recognizing...
Flee led all films with seven nominations, with Summer of Soul claiming six. Jessica Kingdon’s Ascension, Jessica Beshir’s Faya Dayi and E. Chai Vasarhelyi and Jimmy Chin’s The Rescue followed with five noms apiece, with Todd Haynes’ Apple pic The Velvet Underground claiming four. HBO led all distributors with 16 nominations, with Hulu notching 12. Nat Geo and Neon followed with 11 each.
Of particular note with regard to the noms list was a newly introduced category for Outstanding Sound Design, which will see All Light, Everywhere contending alongside Faya Dayi, Flee, Summer of Soul and The Velvet Underground.
The award ceremony recognizing...
- 11/10/2021
- by Matt Grobar
- Deadline Film + TV
The Critics Choice Association has announced nominees for the sixth annual Critics Choice Documentary Awards.
The awards cover documentaries released in theaters, on TV and on major digital platforms. The awards gala takes place Nov. 14 in Brooklyn, N.Y.
“Ascension” and “Summer of Soul, both from first-time documentarians, led the nominations with six each. “Becoming Cousteau” and “The Rescue” both received five nods each.
“This has been and continues to be a fantastic year for documentary storytelling. And the number of first-time feature documentarians in the mix of nominees, alongside proven veterans, shows that nonfiction cinema continues to have a very bright future,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch. “Our world, from its most amazing wonders to its greatest challenges, is being reflected back on the screen so immediately and creatively by today’s filmmakers, and it’s a tremendous honor for us to recognize all of their achievements.
The awards cover documentaries released in theaters, on TV and on major digital platforms. The awards gala takes place Nov. 14 in Brooklyn, N.Y.
“Ascension” and “Summer of Soul, both from first-time documentarians, led the nominations with six each. “Becoming Cousteau” and “The Rescue” both received five nods each.
“This has been and continues to be a fantastic year for documentary storytelling. And the number of first-time feature documentarians in the mix of nominees, alongside proven veterans, shows that nonfiction cinema continues to have a very bright future,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch. “Our world, from its most amazing wonders to its greatest challenges, is being reflected back on the screen so immediately and creatively by today’s filmmakers, and it’s a tremendous honor for us to recognize all of their achievements.
- 10/18/2021
- by Pat Saperstein
- Variety Film + TV
The Critics Choice Association (Cca) has announced the nominees for the sixth annual Critics Choice Documentary Awards (Ccda). This year’s winners will be revealed at a gala on Sunday, November 14, 2021, in Brooklyn, NY. The awards honor the best achievements in nonfiction released in theaters, on TV, or on major digital platforms.
Both films by first-time documentarians, “Ascension” and “Summer of Soul” lead this year’s nominations with six each. “Ascension,” a look at the Chinese dream across social classes, is also up for Documentary Feature, Director (Jessica Kingdon), First Feature, Cinematography, Editing, and Score. Meanwhile, “Summer of Soul” is up for Documentary Feature, Best Director (Ahmir “Questlove’ Thompson), First Documentary, Editing, Archival Documentary, and Music Documentary.
“Becoming Cousteau” and “The Rescue” also picked up five nominations each.
Last year, “Dick Johnson Is Dead” took home the Cca’s top award for Best Documentary as well as the Best Director award for Kirsten Johnson.
Both films by first-time documentarians, “Ascension” and “Summer of Soul” lead this year’s nominations with six each. “Ascension,” a look at the Chinese dream across social classes, is also up for Documentary Feature, Director (Jessica Kingdon), First Feature, Cinematography, Editing, and Score. Meanwhile, “Summer of Soul” is up for Documentary Feature, Best Director (Ahmir “Questlove’ Thompson), First Documentary, Editing, Archival Documentary, and Music Documentary.
“Becoming Cousteau” and “The Rescue” also picked up five nominations each.
Last year, “Dick Johnson Is Dead” took home the Cca’s top award for Best Documentary as well as the Best Director award for Kirsten Johnson.
- 10/18/2021
- by Ryan Lattanzio
- Indiewire
Todd Haynes on ‘Velvet Underground,’ NY’s Avant-Garde Scene and the Challenges of Making a Music Doc
Despite having never made a documentary, Todd Haynes didn’t hesitate when Universal Music Group’s David Blackman approached him in 2018 to make a nonfiction feature about the enormously influential rock band the Velvet Underground, which was initially mentored by Andy Warhol and launched the careers of Lou Reed, John Cale and Nico.
The Oscar-nominated director — known for narrative features including “Far From Heaven” “Carol,” “Dark Waters” and the Bob Dylan meditation “I’m Not There” — wasn’t worried about taking on a nonfiction project because “ultimately all films are narrative experiences and are dramatic experiences. Documentaries need to work in many of the same ways that fictional films need to work in order to reach audiences.”
Haynes spent the better part of three years researching, interviewing subjects and sifting through 600 hours of archival footage with editor Adam Kurnitz. The result is “The Velvet Underground,” which made its world premiere at the Cannes Film Festival.
The Oscar-nominated director — known for narrative features including “Far From Heaven” “Carol,” “Dark Waters” and the Bob Dylan meditation “I’m Not There” — wasn’t worried about taking on a nonfiction project because “ultimately all films are narrative experiences and are dramatic experiences. Documentaries need to work in many of the same ways that fictional films need to work in order to reach audiences.”
Haynes spent the better part of three years researching, interviewing subjects and sifting through 600 hours of archival footage with editor Adam Kurnitz. The result is “The Velvet Underground,” which made its world premiere at the Cannes Film Festival.
- 10/8/2021
- by Addie Morfoot
- Variety Film + TV
Todd Haynes wasn’t even in Cannes yet for the premiere of his new documentary, “The Velvet Underground,” when things got emotional. During a stopover in Amsterdam, he met up with Christine Vachon, his longtime producer who had worked with him ever since his early days of “Superstar: The Karen Carpenter Story” and “Poison.” Forced to different sides of the country when the pandemic set in, they were finally reunited to launch another film.
“I hadn’t been separated from Christine Vachon this long in our entire lives together,” Haynes said in an interview from the festival a few days later. “We just burst into tears. For people who work collaboratively, it’s hard not to be around each other.”
That sentiment has been on his mind a lot over the past year. Haynes had been developing a nonfiction look at the history of Lou Reed’s seminal New York...
“I hadn’t been separated from Christine Vachon this long in our entire lives together,” Haynes said in an interview from the festival a few days later. “We just burst into tears. For people who work collaboratively, it’s hard not to be around each other.”
That sentiment has been on his mind a lot over the past year. Haynes had been developing a nonfiction look at the history of Lou Reed’s seminal New York...
- 7/11/2021
- by Eric Kohn
- Indiewire
“The Velvet Underground” director Todd Haynes said one of the biggest challenges of making his first feature documentary, which premiered in Cannes this week, was bringing Lou Reed to life on screen.
“We used his voice from archival material a lot, but to keep having his presence be sort of imbued into the film I think was the biggest one of the challenges,” said Haynes during a press conference at Cannes.
“We’ve all seen those images of the [Velvet Underground’s] screen tests, you know, mostly in stills because the lighting is so fantastic and they all look so great and sexy. But I’ve never really – until we started to put this together – watched an entire screen test from beginning to end.”
“And all of a sudden you feel like the person is there: they’re breathing, they’re holding still, but there’s little glances that they make that seem...
“We used his voice from archival material a lot, but to keep having his presence be sort of imbued into the film I think was the biggest one of the challenges,” said Haynes during a press conference at Cannes.
“We’ve all seen those images of the [Velvet Underground’s] screen tests, you know, mostly in stills because the lighting is so fantastic and they all look so great and sexy. But I’ve never really – until we started to put this together – watched an entire screen test from beginning to end.”
“And all of a sudden you feel like the person is there: they’re breathing, they’re holding still, but there’s little glances that they make that seem...
- 7/8/2021
- by K.J. Yossman
- Variety Film + TV
The Covid-19 pandemic lent an unexpected helping hand to the making of Todd Hayne’s documentary The Velvet Underground, which had its world premiere in Cannes on Wednesday night to rave reviews.
Making his first step into documentary features, the Carol director told a press conference on Thursday that he first began working on the film in 2018, conducting several interviews with those who were with the iconic New York rock band in the 1960s. But then — alongside his long-standing editor Affonso Goncalves — he turned his attention to the legal thriller Dark Waters, leaving the project with editor Adam Kurnitz (who also worked ...
Making his first step into documentary features, the Carol director told a press conference on Thursday that he first began working on the film in 2018, conducting several interviews with those who were with the iconic New York rock band in the 1960s. But then — alongside his long-standing editor Affonso Goncalves — he turned his attention to the legal thriller Dark Waters, leaving the project with editor Adam Kurnitz (who also worked ...
The Covid-19 pandemic lent an unexpected helping hand to the making of Todd Hayne’s documentary The Velvet Underground, which had its world premiere in Cannes on Wednesday night to rave reviews.
Making his first step into documentary features, the Carol director told a press conference on Thursday that he first began working on the film in 2018, conducting several interviews with those who were with the iconic New York rock band in the 1960s. But then — alongside his long-standing editor Affonso Goncalves — he turned his attention to the legal thriller Dark Waters, leaving the project with editor Adam Kurnitz (who also worked ...
Making his first step into documentary features, the Carol director told a press conference on Thursday that he first began working on the film in 2018, conducting several interviews with those who were with the iconic New York rock band in the 1960s. But then — alongside his long-standing editor Affonso Goncalves — he turned his attention to the legal thriller Dark Waters, leaving the project with editor Adam Kurnitz (who also worked ...
With such a wide array of potential awards contenders in film and television, awards groups like the Cinema Eye Honors help to cull the field. This year, HBO Documentary Films leads the broadcast categories with 10 nominations, including three each for Liz Garbus’ serial killer series “I’ll Be Gone in the Dark” and David France’s Oscar contender “Welcome to Chechnya.” Cinema Eye also unveiled 10 short documentary semifinalists for the short filmmaking honors.
The Outstanding Broadcast Film nominees also include “Bully. Coward. Victim.: The Story of Roy Cohn,” directed by Ivy Meeropol, 2020 Oscar winner “Learning to Skateboard in a Warzone (If You’re a Girl),” directed by Carol Dysinger, “Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese,” and “Sea of Shadows,” directed by Richard Ladkani.
Outstanding Series Nominees include “Atlanta’s Missing and Murdered: The Lost Children,” directed by Joshua Bennett, Maro Chermayeff, Jeff Dupre, and Sam Pollard, “Hillary,...
The Outstanding Broadcast Film nominees also include “Bully. Coward. Victim.: The Story of Roy Cohn,” directed by Ivy Meeropol, 2020 Oscar winner “Learning to Skateboard in a Warzone (If You’re a Girl),” directed by Carol Dysinger, “Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese,” and “Sea of Shadows,” directed by Richard Ladkani.
Outstanding Series Nominees include “Atlanta’s Missing and Murdered: The Lost Children,” directed by Joshua Bennett, Maro Chermayeff, Jeff Dupre, and Sam Pollard, “Hillary,...
- 11/19/2020
- by Anne Thompson
- Thompson on Hollywood
With such a wide array of potential awards contenders in film and television, awards groups like the Cinema Eye Honors help to cull the field. This year, HBO Documentary Films leads the broadcast categories with 10 nominations, including three each for Liz Garbus’ serial killer series “I’ll Be Gone in the Dark” and David France’s Oscar contender “Welcome to Chechnya.” Cinema Eye also unveiled 10 short documentary semifinalists for the short filmmaking honors.
The Outstanding Broadcast Film nominees also include “Bully. Coward. Victim.: The Story of Roy Cohn,” directed by Ivy Meeropol, 2020 Oscar winner “Learning to Skateboard in a Warzone (If You’re a Girl),” directed by Carol Dysinger, “Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese,” and “Sea of Shadows,” directed by Richard Ladkani.
Outstanding Series Nominees include “Atlanta’s Missing and Murdered: The Lost Children,” directed by Joshua Bennett, Maro Chermayeff, Jeff Dupre, and Sam Pollard, “Hillary,...
The Outstanding Broadcast Film nominees also include “Bully. Coward. Victim.: The Story of Roy Cohn,” directed by Ivy Meeropol, 2020 Oscar winner “Learning to Skateboard in a Warzone (If You’re a Girl),” directed by Carol Dysinger, “Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese,” and “Sea of Shadows,” directed by Richard Ladkani.
Outstanding Series Nominees include “Atlanta’s Missing and Murdered: The Lost Children,” directed by Joshua Bennett, Maro Chermayeff, Jeff Dupre, and Sam Pollard, “Hillary,...
- 11/19/2020
- by Anne Thompson
- Indiewire
David France’s “Welcome to Chechnya,” a documentary about LGBTQ activists trying to help during the Chechnya government’s brutal crackdown on gays and lesbians, leads all films in nominations in the Cinema Eye Honors’ broadcast categories, which were announced on Thursday during a virtual edition of its annual fall lunch.
Cinema Eye, a New York-based organization founded in 2007 to recognize all aspects of nonfiction filmmaking, also announced its new Stay Focused initiative. The program spotlights 12 films by up-and-coming filmmakers who lost the chance for theatrical exhibition and film-festival exposure because of the coronavirus pandemic. Cinema Eye has pledged to find “in-person opportunities” for the filmmakers once the pandemic subsides, starting with theatrical screenings at the new Vidiots Theatre in Los Angeles in late 2021.
The 12 films include Cecilia Aldorondo’s “Landfall,” which recently won a jury award at Doc NYC; David Osit’s “Mayor,” about the Christian mayor of a...
Cinema Eye, a New York-based organization founded in 2007 to recognize all aspects of nonfiction filmmaking, also announced its new Stay Focused initiative. The program spotlights 12 films by up-and-coming filmmakers who lost the chance for theatrical exhibition and film-festival exposure because of the coronavirus pandemic. Cinema Eye has pledged to find “in-person opportunities” for the filmmakers once the pandemic subsides, starting with theatrical screenings at the new Vidiots Theatre in Los Angeles in late 2021.
The 12 films include Cecilia Aldorondo’s “Landfall,” which recently won a jury award at Doc NYC; David Osit’s “Mayor,” about the Christian mayor of a...
- 11/19/2020
- by Steve Pond
- The Wrap
Todd Haynes is making his documentary feature debut with the upcoming “The Velvet Underground,” a dive into the makings of the 1960s band led by Lou Reed and the cultural landscape that surrounded them. Haynes recently teased the film, currently in post-production, during an extended conversation hosted by the Museum of Modern Art, embedded below.
The Oscar-nominated “Far From Heaven” and “Carol” filmmaker said he completed all the interviews for the film, which were shot by his trusted cinematographer Ed Lachman, in 2018 before heading into shooting “Dark Waters.” His editors on the film are Affonso Gonçalves, who has cut many of Haynes’ films, and Adam Kurnitz.
“It’s such an archive-based film that when I got to turn my attentions to it fully, it was right at the end of last year and the beginning of this year,” he said. “I was staying at a place in Venice and I was editing in Venice,...
The Oscar-nominated “Far From Heaven” and “Carol” filmmaker said he completed all the interviews for the film, which were shot by his trusted cinematographer Ed Lachman, in 2018 before heading into shooting “Dark Waters.” His editors on the film are Affonso Gonçalves, who has cut many of Haynes’ films, and Adam Kurnitz.
“It’s such an archive-based film that when I got to turn my attentions to it fully, it was right at the end of last year and the beginning of this year,” he said. “I was staying at a place in Venice and I was editing in Venice,...
- 8/15/2020
- by Ryan Lattanzio
- Indiewire
Roy Cohn had always been a haunting presence in filmmaker Ivy Meeropol’s life, but the full extent of his existence was only apparent after she watched Meryl Streep play her grandmother, Ethel Rosenberg, in HBO’s 2003 “Angels in America.” “I think seeing the film made me finally connect emotionally to my human story, and this was a story I needed to tell,” Meeropol says. “I could do something no one else could because of my family history.”
The result is the documentary “Bully. Coward. Victim. The Story of Roy Cohn,” which debuts June 19 on HBO.
Cohn was one of the most ruthless lawyers in American history — working with Sen. Joe McCarthy during the anti-Communist Army-McCarthy hearings of the 1950s. Cohn was also responsible, with McCarthy, for creating the Lavender scare of the ’50s, leading the government to repress and purge itself of homosexual people. And he pushed hard for...
The result is the documentary “Bully. Coward. Victim. The Story of Roy Cohn,” which debuts June 19 on HBO.
Cohn was one of the most ruthless lawyers in American history — working with Sen. Joe McCarthy during the anti-Communist Army-McCarthy hearings of the 1950s. Cohn was also responsible, with McCarthy, for creating the Lavender scare of the ’50s, leading the government to repress and purge itself of homosexual people. And he pushed hard for...
- 6/12/2020
- by Jazz Tangcay
- Variety Film + TV
Jim Jarmusch to present Paterson and Gimme Danger with Iggy Pop at the New York Film Festival Photo: Anne-Katrin Titze
In 2013, Jim Jarmusch presented Only Lovers Left Alive with Tilda Swinton at the 51st New York Film Festival. This year he returns with Special Event screenings of Gimme Danger on Iggy Pop and The Stooges, and Paterson, starring Adam Driver, Golshifteh Farahani and Cannes Palm Dog winner Nellie with a touch of Mystery Train, Ron Padgett and Moonrise Kingdom.
Soupy Sales's impact, Lucille Ball in Vincente Minnelli's The Long, Long Trailer, what Abdul Fakir of the Four Tops and Mary Weiss of The Shangri-Las have in common, John Wayne in a James Kerr animation driving around in a Cadillac - this is a wild, fast-paced ride, edited by Affonso Gonçalves and Adam Kurnitz. Nico, Andy Warhol, David Bowie, the famous dog collar, inspiration from "Egyptian iconography" - all...
In 2013, Jim Jarmusch presented Only Lovers Left Alive with Tilda Swinton at the 51st New York Film Festival. This year he returns with Special Event screenings of Gimme Danger on Iggy Pop and The Stooges, and Paterson, starring Adam Driver, Golshifteh Farahani and Cannes Palm Dog winner Nellie with a touch of Mystery Train, Ron Padgett and Moonrise Kingdom.
Soupy Sales's impact, Lucille Ball in Vincente Minnelli's The Long, Long Trailer, what Abdul Fakir of the Four Tops and Mary Weiss of The Shangri-Las have in common, John Wayne in a James Kerr animation driving around in a Cadillac - this is a wild, fast-paced ride, edited by Affonso Gonçalves and Adam Kurnitz. Nico, Andy Warhol, David Bowie, the famous dog collar, inspiration from "Egyptian iconography" - all...
- 9/29/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
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