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Whiplash deserves nominations for editing & sound

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  • FreemanGriffin
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    #164508

    While I had a huge reservation about this movie – it’s pro-bullying p.o.v. – and J.K. Simmons will certainly be nominated (and probably win) for Supporting Actor, I want to make a case for it’s superb film editing and it’s sound editing and sound mixing. The drumming sequences are absolutely riveting and it’s mostly a result of the superb film editing and the use of sound. Who would have thought that drumming could be so richly cinematic? I’m surprised that it’s editor isn’t being considered a lock for a nomination. The sound categories often go to bigger noisier films (with bigger budgets than an indie film like Whiplash). I was never bored throughout the film; however, I did have ethical concerns about it’s screenplay and it’s point of view.

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    AviChristiaans
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    #164510

    Best Sound Mixing, definetly. Because that was ultimately what was showcased predominantly.

    Best Sound Editing at the Oscars is generally reserved for the big, bombastic sound showcasing in film, where the  clear cut sound effects and sound design are visible. Think excessive gun fire, crowds, engines, big budget musicals etc.

      
     

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    Eddy Q
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    #164511

    ^ Actually musicals often win Sound Mixing without being nominated for Sound Editing at all (e.g. Chicago, Dreamgirls, Les Miz). But yes, films with more obvious sound effects get nominated in Sound Editing (it used to be called Best Sound Effects Editing). Without having seen Whiplash, I’d guess it’s got a good shot at Mixing while having almost zero chance at Editing, but I’d be interested to hear from someone who’s seen the film and is savvier about these technical creds than I am.

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    manakamana
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    #164512

    I’m currently predicting it for Film Editing and Sound Mixing (in addition to Picture, Supporting Actor and Original Screenplay). I don’t think it’s Sound Editing is particularly worth highlighting. 

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    Daniel Montgomery
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    #164513

    I honestly know squat about how to evaluate the quality of sound from a technical perspective, but judging from Oscar history with musical movies, “Whiplash” has a solid chance at Sound Mixing, probably no chance at all of Sound Editing.

    Best Editing, though, is where I feel very strongly. I think “Whiplash” is the single best edited film I’ve seen this year, because the editing is such a big part of what makes the film so thrilling. Kinetic, fast-paced, but incredibly precise, just like the music the characters are trying to make.

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    Daniel Montgomery
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    #164514

    While I had a huge reservation about this movie – it’s pro-bullying p.o.v. – and J.K. Simmons will certainly be nominated (and probably win) for Supporting Actor, I want to make a case for it’s superb film editing and it’s sound editing and sound mixing. The drumming sequences are absolutely riveting and it’s mostly a result of the superb film editing and the use of sound. Who would have thought that drumming could be so richly cinematic? I’m surprised that it’s editor isn’t being considered a lock for a nomination. The sound categories often go to bigger noisier films (with bigger budgets than an indie film like Whiplash). I was never bored throughout the film; however, I did have ethical concerns about it’s screenplay and it’s point of view.

    I would disagree with the point I highlighted. I don’t think the film is pro-bullying. The film itself doesn’t come down one way or another on whether it’s worth terrorizing someone to inspire greatness from them — or whether that even really works well enough to justify such abuse. I think the film presents its characters and what they believe and let us judge for ourselves. I’ve heard Damien Chazelle and JK Simmons discuss the film, and both seem to decisively renounce the teacher’s behavior in the film. At the same time, it’s clear that the teacher, and sometimes even the student, believe it’s right.

    So I don’t think “Whiplash” is pro-bullying any more than “Black Swan” is pro-insanity. They’re both showing the lengths to which certain people feel they need to go in order to achieve artistic perfection, but neither is endorsing those goals or behaviors.

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    FreemanGriffin
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    #164515

    I don’t want to spoil the movie but I stand by my assertion that the film is subtly pro-bullying. It also really bothered me that the students didn’t stick up for each other and didn’t tell him to knock off all the homophobic slurs, etc. 

    I think it MOST deserves a Film Editing nomination. The editing in all the drumming sequences are extraordinary! I was surprised to see that Whiplash isn’t considered a frontrunner for Best Film Editing, but perhaps it’s simply that people haven’t seen the movie yet?

    I also think the sound editing and sound mixing deserve nominations, but I’m not saying they will be honored. Big budget movies usually get most of the nominations in those categories. (And I’m still thinking Exodus: Of Gods & Kings is going to do really well in the technical categories, which nobody else seems to think will happen!) (;

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    Daniel Montgomery
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    #164516

    I don’t want to spoil the movie but I stand by my assertion that the film is subtly pro-bullying. It also really bothered me that the students didn’t stick up for each other and didn’t tell him to knock off all the homophobic slurs, etc.

    The students didn’t stand up for each other for the same reason they didn’t stand up for themselves: they didn’t have any power. They would be very justified to fear his reprisal. Fletcher had all the power, including the power to make or break careers. Challenging him meant a very likely end to their potential careers.

    Without going into spoilery specifics, I think I understand why you consider the film pro-bullying based on how the story develops, but I think there are developments that indicate a negative view of Fletcher’s behavior. It’s left ambiguous, and one could argue that it doesn’t take enough of a moral stand against Fletcher, but I think “pro-bullying” implies an endorsement on the part of the filmmaker that wasn’t there.

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    CAROL-CHANNING
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    #164517

    I don’t want to spoil the movie but I stand by my assertion that the film is subtly pro-bullying. It also really bothered me that the students didn’t stick up for each other and didn’t tell him to knock off all the homophobic slurs, etc. 

    So… you think the film was pro-bullying/homophobia because one of the characters (who is the villain of the story and NOT the character the audience is supposed to like) bullied his students and used homophobic slurs?  That’s like saying you think Christopher Nolan endorses violence because he had the character of the Joker in The Dark Knight.

    That being said, if Whiplash doesn’t get in for best film editing, it’ll be a disgrace.  It was a masterclass on how to edit a film. 

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    CanadianFan
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    #164518

    It probably deserves a nomination for best picture as well. The last twenty minutes of the film is a masterclass in film editing — simply perfect.

    Daniel and Carol said all I could about the film being “pro-bullying”. That’s a ridiculous assertion. A film’s POV can rarely be distilled by looking at the antagonist’s behavior. 

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    Filmatelist
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    #164519

    Agree that the film would get my vote (so far) of best editing and sound mixing for the year.  Simmons is fun but I think I’d still lean toward Ethan Hawke, personally, for Supporting Actor but would be neither surprised nor bothered if JK walked away with it.  

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    Tye-Grr
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    #164520

    Yes to both! Editing and Sound Mixing were superb! Simmons and Teller are terrific, Chazelle’s direction is fantastic, and the screenplay is also Oscar worthy.

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    OnTheAisle
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    #164521

      . . . and the screenplay is also Oscar worthy.

    While Whiplash is most visually exciting film in recent memory, the experience of watching this cinematic marvel masks a tired screenplay.

    The scenes with Paul Reisner are filler. Cut them, and the film is better. We learn far more about Andrew in that brief exchange with Fletcher at the first rehearsal. Andrew, hungry for approval, shares too much too soon. Fletcher quickly reveals his emotional abuse taking advantage of Andrew’s naivete.

    Perhaps I am simply weary of the plight of the privileged who receive a stellar education at an elite school. Much of Whiplash is a retread of The Paper Chase. A revered, yet morally ambiguous professor belittles ill prepared students. Students in a heightened sense of desparation seek success. And we know that someone will crack emotionally in such a situation causing our protagonist to reflect on the true nature of success.

    I love the sheer thrill of watching the film but will not be in the camp supporting Whiplash for an Oscar for its screenplay.

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    seabel
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    #164522

    Some moderator is not doing his/her work.

    Please combine this thread with the current Whiplash one.

    It’s gross. Every time we enter at the forum, dozens of new silly and separated threads like this.

    And the words you’re saying, FreemanGriffin, can be totally good in terms of predictions and valoration of filmmaking, but please, search a little before in the forums, because it’s exhausting to jump to page 7 or 8 to look for some thread. 

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    FreemanGriffin
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    #164523

    Seabel, it irks me that you have assumed I didn’t search for a Whiplash thread; I went through the first six pages and couldn’t find one, therefore, I started this one. Also, this thread was more specifically about the editing and sound quality of the film, which are both Oscar-worthy. Perhaps if there was a way to search better for threads on existing movies – if there is one, kindly say so. I’m planning on seeing Nightcrawler but haven’t seen any threads on that movie either – if there is one, where is it??

    I would love to read the other Whiplash thread but have never been able to find it.

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