At Sunday’s Motion Picture Sound Editors awards, “War Horse” won Best Sound Effects and Foley. That prize has proven to be an accurate precursor as to what film prevails for Best Sound Editing at the Oscars.
“War Horse” soundman Gary Rydstrom won seven of his previous 15 bids: “Terminator 2: Judgment Day” (Sound and Sound Editing), “Jurassic Park” (Sound and Sound Editing), “Titanic” (Sound) and “Saving Private Ryan” (Sound and Sound Editing). His co-nominee Richard Hymns won three of his seven previous races: “Indiana Jones and the Last Crusade” (Sound Editing), “Jurassic Park” (Sound Editing), and “Saving Private Ryan” (Sound Editing).
“Hugo” did not contend in the Sound Effects and Foley race at the MPSE but it did win the Music award. Longtime Martin Scorsese collaborator Philip Stockton reaped his first Oscar bid while Eugene Gearty picked up his second following a nod for “Gangs of New York.”
“The Girl with the Dragon Tattoo” earned Ren Klyce his fourth nomination. As with this one, all of his other bids were for David Fincher films: Sound Mixing for “The Curious Case of Benjamin Button” (2008) and “The Social Network” (2010), and Sound Editing for “Fight Club” (1999).
“Transformers: Dark of the Moon” is the first nomination for sound editor Erik Aadahl and the fourth for Ethan Van der Ryn, who was nominated for the original “Transformers” (2007) and won this category for “The Lord of the Rings: The Two Towers” (2002) and “King Kong” (2005).
“Drive” marks the first Oscar nomination for sound editor Victor Ray Ennis and the third nomination for Lon Bender, who won this category for “Braveheart” (1995) and was nominated again for “Blood Diamond” (2006).
Click on the pundits below to see a breakdown of their rankings in this race.
Click on each of the categories below for the overview of that race.