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Picture editor Tony Ciccone began his professional career as an actor in television and film before focusing on a career behind the camera. Born in New York City, the son of a used car dealer and a homemaker, Ciccone and his older sister were raised in Huntington Station on Long Island. An auto enthusiast and filmmaking buff since an early age, Ciccone elected studying the latter upon entering college. Graduating from SUNY at Stony Brook with a BA in Theatre Arts, Ciccone moved to Los Angeles. Following advice of his father so he was assured not to starve and also meet movie producers, Ciccone worked several years as a busboy at The Palm Restaurant in West Hollywood. It was during this period that he pursued a modestly successful acting career. Eventually proving his dad's advice correct, Ciccone received his first break in film production when Palm regular manager/film producer Larry Brezner hired him as a P.A. on the hit film, Throw Momma from the Train (1987) directed by Danny DeVito. Besides also being cast in a small role by DeVito, Ciccone found his calling in the editing room. There was a brief career dilemma when a prior guest role on TV sitcom My Sister Sam (1986-1988) was being considered for recurring status. A few years later, Ciccone landed his first job as an apprentice editor, working under Oscar winning editor Paul Hirsch on another Brezner produced feature, Coupe de Ville (1990) directed by Joe Roth. A recommendation by Hirsch to Paul Haggar, the long time head of post production for Paramount Pictures, landed Ciccone as an apprentice in the film shipping department. Impressed with Ciccone's enthusiasm, Haggar placed him on Days of Thunder (1990). This began Ciccone's twenty-year on and off association with director Tony Scott. Ciccone worked his way up the ranks of assistant editors with the advent of computer non-linear editing systems as well as editing several scenes on director Tony Scott's True Romance (1993). Reunited with editor Christian Wagner on The Negotiator (1998) directed by F. Gary Gray, Ciccone was given an additional editor credit for his artistic contribution to the film. Based in part on recommendation of his work on that film, Paramount promoted Ciccone on his 39th birthday as 2nd editor to main editor Christian Wagner on the high profile Paramount film Mission: Impossible II (2000) directed by action maestro John Woo. Clearly a breakout gig, Ciccone's future as a studio editor could not look any brighter. Early April 2000, a harrowing motorcycle accident on his way to work propelled Ciccone into the news and off the film one year to date of employment. Adding to his troubles, a week later the studio informed Ciccone his final credit would not be in the main credit block. This unfortunate turn of events dissipated vetting his artistic contribution as an editor on the top grossing film of 2000. Suffering permanent injuries along with the possibility of losing 80% mobility in both hands, Ciccone endured eight months of physical therapy to successfully regaining full use of his hands. Returning to work nine months after the accident, Ciccone struggled finding acceptance in the credit driven industry. It was not until reuniting with director Tony Scott as additional editor to future Oscar winning editor William Goldenberg (I) on the feverishly stylized Domino (2005) that Ciccone established recognition outside the cutting room. Of note during early production on Domino, director/screenwriter David Ayer offered Ciccone the editor position on his then directorial debut Harsh Times (2005) but Ciccone respectfully declined out of loyalty to Scott. Any marginalization aside, Ciccone has endured. Establishing a reputation among directors and the rank and file as an underrated editor. Recent years have also seen Ciccone hired as a consultant in the video gaming industry as well as returning to acting.
