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If you’re predicting Dune to get sound, which everyone is, then you better be predicting it to get film editing too. It’s happened almost every time in the last decade…
So whoever wins sound usually also wins editing, that’s it? I wonder if someone who knows the craft departments could explain what’s the connection, if there is one.
Dune for sure is getting sound, VFX and editing, plus it has a good shot at score, cinematography and production design.
ReplyCopy URLSo whoever wins sound usually also wins editing, that’s it? I wonder if someone who knows the craft departments could explain what’s the connection, if there is one. Dune for sure is getting sound, VFX and editing, plus it has a good shot at score, cinematography and production design.
I don’t think I “know the craft departments” that well, but I feel like I understand why. The Oscars like flashy, obvious, fast-paced editing. That favors films with a lot of action. Films with a lot of action normally have things like explosions, or guns, or cars, or other loud sounds. Therefore, they go hand in hand.
Here’s the film editing winners since 2013 (bolded are action movies):
Sound of Metal
Ford v Ferrari
Bohemian Rhapsody
Dunkirk
Hacksaw Ridge
Mad Max: Fury Road
Whiplash
Gravity
As you can see most of the winners are action movies. And how to account for the others? Easy. Music.
ReplyCopy URLOscars FYC:
Picture: Dune, The Power of the Dog
Director: Jane Campion, Denis Villeneuve
Actor: Benedict Cumberbatch
Supporting Actress: Kirsten Dunst, Ruth Negga
Supporting Actor: Kodi Smit-McPhee, Jesse Plemons
Adapted Screenplay: Dune, Passing, The Power of the Dog
Cinematography: Dune, The Power of the Dog
Costume Design: Dune
Film Editing: Dune, The Power of the Dog
Production Design: Dune, The Power of the Dog
Sound: Dune, The Power of the Dog
Visual Effects: Dune, Free GuySo whoever wins sound usually also wins editing, that’s it? I wonder if someone who knows the craft departments could explain what’s the connection, if there is one.
The editing can often enhance the flashiness of a sound design and vice versa. And remember the sound categories were split until last year.
I haven’t seen Dune yet, so I don’t know if it’s conceptually as flashy in either editing or sound as films like Gravity, Whiplash, Mad Max, Dunkirk, even Sound of Metal’s film editing was crucial (if subtler) in enhancing the immersive sound mix. It’s not always necessarily about the “most,” though that could certainly help in a more competitive field a la Hacksaw Ridge (could have just as plausibly been Villeneuve’s Arrival, whose structure yields some very flashy editing and also won a sound prize).
ReplyCopy URLIt’s looking like Cinematography, Sound and Costume Design are the most crowded categories here. There are so many contenders here that feel like shoo-ins, it’s insane.
I’d add production design to the group as well. Regardless, there is a lot of competition in all of the races this year because of all of the delayed films.
ReplyCopy URLOscars FYC:
Picture: Dune, The Power of the Dog
Director: Jane Campion, Denis Villeneuve
Actor: Benedict Cumberbatch
Supporting Actress: Kirsten Dunst, Ruth Negga
Supporting Actor: Kodi Smit-McPhee, Jesse Plemons
Adapted Screenplay: Dune, Passing, The Power of the Dog
Cinematography: Dune, The Power of the Dog
Costume Design: Dune
Film Editing: Dune, The Power of the Dog
Production Design: Dune, The Power of the Dog
Sound: Dune, The Power of the Dog
Visual Effects: Dune, Free GuyRoma, Greyhound, Skyfall
I’m also still amused by the awards for the 2012 film year, in which thanks to a tie three films won Oscars across two sound categories (Zero Dark Thirty, Skyfall, Les Miserables) but Argo, twice defeated in the sound races, is the one that took home the film-editing prize against the one fellow nominee that scored in sound: ZDT.
ReplyCopy URLFYC
Best Picture: Jockey
Director: Clint Bentley
Actor: Clifton Collins Jr.
Supporting Actress: Molly Parker
Supporting Actor: Moises Arias
Original Screenplay: Clint Bentley, Greg Kwedar
Cinematography: Adolpho Veloso
Film Editing: Parker Laramie
Music Score: Aaron & Bryce DessnerI don’t think I “know the craft departments” that well, but I feel like I understand why. The Oscars like flashy, obvious, fast-paced editing. That favors films with a lot of action. Films with a lot of action normally have things like explosions, or guns, or cars, or other loud sounds. Therefore, they go hand in hand. Here’s the film editing winners since 2013 (bolded are action movies): Sound of Metal Ford v Ferrari Bohemian Rhapsody Dunkirk Hacksaw Ridge Mad Max: Fury Road Whiplash Gravity As you can see most of the winners are action movies. And how to account for the others? Easy. Music.
Absolutely correct and last year at this point I would have made the exact same argument, but I think Sound of Metal can not be explained away with the music argument because other than being ABOUT a drummer there aren’t that many musical scenes in the film, and the ones that are there are not very flashy and editing-y like in BoRhap or Whiplash. Maybe they saw the premise of the film and defaulted to it but I don’t really see that when there was such an obviously flashy contender like Chicago 7 in the race. I can’t explain why this correlation is there, but I’m never going to predict a split in Sound and Editing anymore in the future.
ReplyCopy URLFYC - Oscars 2022:
NINE DAYS in all categories, including:
- Best Picture
- Best Director
- Best Original Screenplay
- Best Actor (Winston Duke)
- Best Supporting Actress (Zazie Beetz)
- Best Supporting Actor (Benedict Wong)RIDERS OF JUSTICE:
- Best Picture
- Best Original Screenplay
- Best Actor (Mads Mikkelsen)
- Best Supporting Actor (Nicolas Bro)Letterboxd: Ray_In_Bruges
Dune can perfectly be nominated for Sound without Editing, just like Interstellar, Blade Runner 2049 and First Man.
Roma, Greyhound, Skyfall
But… were not talking about it getting nominated. Were talking about it winning… Because, it just is. So then that doesnt work to counter it getting into film editing.
ReplyCopy URLOscars FYC:
Picture: Dune, The Power of the Dog
Director: Jane Campion, Denis Villeneuve
Actor: Benedict Cumberbatch
Supporting Actress: Kirsten Dunst, Ruth Negga
Supporting Actor: Kodi Smit-McPhee, Jesse Plemons
Adapted Screenplay: Dune, Passing, The Power of the Dog
Cinematography: Dune, The Power of the Dog
Costume Design: Dune
Film Editing: Dune, The Power of the Dog
Production Design: Dune, The Power of the Dog
Sound: Dune, The Power of the Dog
Visual Effects: Dune, Free GuyBut… were not talking about it getting nominated. Were talking about it winning… Because, it just is. So then that doesnt work to counter it getting into film editing.
That’s because sound is a weak category with little competition so it probably wins it by default. As such, Dune winning sound will not play a big factor in it’s chances of getting a film editing nomination.
ReplyCopy URLhttps://filmmusicreporter.com/2021/10/15/first-track-from-jonny-greenwoods-spencer-score-released/embed/#?secret=F9OWsgbtF9 There’s no way this man will lose to Hans Zimmer reusing his Inception score again.
You say this but there’s always a chance he splits between the two (three if Licorice Pizza ends up being a player) scores he has in contention. Which is a shame because the scores he’s composed for both Spencer and <i>The Power of the Dog</i> are absolute masterstrokes.
ReplyCopy URLFYC:
Picture: Passing/The Power of the Dog/Shiva Baby/Spencer
Director: Jane Campion/Rebecca Hall/Pablo Larrain
Actor: Benedict Cumberbatch/Andrew Garfield/Winston Duke
Actress: Olivia Colman/Kristen Stewart/Tessa Thompson
S. Actor: Richard E. Grant/Troy Kotsur/Kodi Smit-McPhee
S. Actress : Kirsten Dunst/Claire Foy/Jayne Houdyshell/Martha Plimpton/Ruth Negga/Diana Rigg/Anya Taylor-Joy
O. Screenplay: Bergman Island/Mass/Nine Days
A. Screenplay: The Lost Daughter/Passing/The Power of the Dog/Shiva B
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