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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.
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 URLTop Ten 2022 Films:
1. Everything Everywhere All At Once
2. The Banshees of Inisherin
3. The Fabelmans
4. Avatar: The Way of Water
5. All Quiet on the Western Front
6. The Batman
7. TÁR
8. Top Gun: Maverick
9. Glass Onion: A Knives Out Mystery
10. Women TalkingSo 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 URLTop Ten 2022 Films:
1. Everything Everywhere All At Once
2. The Banshees of Inisherin
3. The Fabelmans
4. Avatar: The Way of Water
5. All Quiet on the Western Front
6. The Batman
7. TÁR
8. Top Gun: Maverick
9. Glass Onion: A Knives Out Mystery
10. Women TalkingRoma, 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: "Aftersun" (A24); “Bones & All” (MGM/UA)
Best Director: Charlotte Wellls; Luca Guadagnino
Best Actress: Frankie Corio; Taylor Russell
Best Actor: Paul Mescal; Timothee Chalamet
Best Supporting Actress: Chloe Sevigny
Best Supporting Actor: Mark Rylance, Andre Holland, Michael Stuhlbarg
Best Original Screenplay: Charlotte Wells
Best Adapted Screenplay: David KajganichI 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 URLFor Your Consideration:
The Banshees of Inisherin in ALL categories, including:
- Best Picture
- Best Director
- Best Actor (Colin Farrell)
- Best Supporting Actor (Brendan Gleeson)
- Best Supporting Actor (Barry Keoghan)
- Best Supporting Actress (Kerry Condon)
- Best Supporting Actress (Sheila Flitton)
- Best Original ScreenplayLetterboxd: 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 URLTop Ten 2022 Films:
1. Everything Everywhere All At Once
2. The Banshees of Inisherin
3. The Fabelmans
4. Avatar: The Way of Water
5. All Quiet on the Western Front
6. The Batman
7. TÁR
8. Top Gun: Maverick
9. Glass Onion: A Knives Out Mystery
10. Women TalkingBut… 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: Better Call Saul, The English and The Good Fight in all categories including Emily Blunt, Bob Odenkirk, Christine Baranski and Rhea Seehorn.
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