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SURPISED PARASITE NO EDITING WIN

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    LBC1
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    #1203342331

    I picked Parasite to win screenplay, editing and picture. I saw that as the path for Parasiste to best picture. Is anyone else surprised after it won picture and especially director that it also did not pop in the editing category? I think it is especially surprising considering it had enough strength to beat the “technical” directing achievement in 1917 but could not beat a lower tier best picture nominee in Ford vs Ferrari. I could see picking Ford vs Ferrari in editing before the show, but really surprised I did not hit that editing prediction in light of the results that ended up happening on the show.

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    Tooner
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    #1203342342

    I’m still shocked that it won director but not editing

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    LBC1
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    #1203342344

    Really shocked. I’m still really not sure how that combo of a directing win but not an editing win happened for Parasite. Ford vs Ferrari had more editing but I can’t believe that the ground swell of support could carry Parasite over the technical directing achievement of 1917, but not over the hump in editing. Can anyone else explain that especially since 1917 was clearly the #2 Academy movie while Ford vs Ferrari had to be further down the list? I have to believe that final editing vote was unbelievably close.

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    John Berchmans
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    #1203342657

    I’m not surprised by this. Most Editing always wins Best Editing, and the flashies, most action packed film is usually the one that wins. I learned this lesson after Bohemian Rhapsody last year. The academy loved Parasite, but that love only extended to the categories they felt it deserved the most. Plus they love to pair Editing and Sound. As soon as I saw FvF steal a sound award from 1917 I knew it would win Editing. Should have went with the stats on that one.

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    Eddy Q
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    #1203342737

    I never bought the oft-repeated mantra that Parasite had to win editing to upset in Best Picture. Editing nominations are still necessary except in special circumstances, but actually winning editing is not so crucial these days; even a Best Picture winner with outstanding editing can lose to a flasher competitor in that category. Even back in the early nineties, The Silence of the Lambs lost editing despite virtuoso parallel editing in the police-raid sequence.

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    happysad
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    #1203342880

    I feel that an Editing nomination would suffice in itself, rather than winning an Editing nomination, in securing a BP win. Both Ford vs. Ferrari and Parasite had excellent editing and I wouldn’t mind with either winning. Also after Bohemian’s rhapsody’s win last year, I feel like the integrity of the category got diminished so I wouldn’t really put much credibility to the category in predicting a BP win.

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    LBC1
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    #1203343213

    Good points but I think the surprise is in the fact it had the ground swell and support to win directing but not also editing. All the arguments as to why Ford vs Ferrari might beat it in editing apply to the director category where the bigger more technical achievement has been winning best director pretty much every year in recent times where such a choice is available. The fact 1917 checked all those directorial boxes and was the consensus #2 best picture movie makes its loss to parasite in directing surprising unless the same ground swell also would carry Parasite over a less popular Ford vs Ferrari in editing.

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    John Berchmans
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    #1203343284

    Good points but I think the surprise is in the fact it had the ground swell and support to win directing but not also editing. All the arguments as to why Ford vs Ferrari might beat it in editing apply to the director category where the bigger more technical achievement has been winning best director pretty much every year in recent times where such a choice is available. The fact 1917 checked all those directorial boxes and was the consensus #2 best picture movie makes its loss to parasite in directing surprising unless the same ground swell also would carry Parasite over a less popular Ford vs Ferrari in editing.

    It’s a bit of a different scenario though. Parasite was talked about as being a potential Director winner since the beginning. I predicted it months ago back when I still thought Jojo was winning Picture and Once was winning Screenplay. But then Mendes’ precursor sweep happened. For me it was the 1917’s Screenplay nomination that convinced me to switch. If it hadn’t gotten that nomination I would have kept predicting Joon Ho the whole season, because of the stats. Same reason why I never predicted 1917 to win Best Picture.

    Anyway, Parasite was never a realistic contender to win Editing until after the ACE awards, which I think it only won because the guild loved Parasite so much and wanted to reward it. But at the Oscars, members were already voting it for Picture, Director, Screenplay, and International Film, so they didn’t feel the need to give it a below-the-line win, and voted for the film they thought had the better editing. The opposite happened in Director I think: DGA loved Parasite but voted for Mendes because they felt he had the better direction, but Bong was so loved by Academy voters that they didn’t care enough about Mendes’ technical achievement to justify a win over their favorite film.

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    John Berchmans
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    #1203343290

    tldr: The Academy loved Parasite enough to give it the big prizes, but wanted to spread the wealth below the line. And the sad truth is that they probably didn’t care enough about Koreans not named Bong-Joon Ho to vote for them.

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    LBC1
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    #1203343372

    That is a good point. I do think that Bong-Joon Ho won over a lot of voters with his charm and speeches at some of the precursor events and luncheons. With directing they felt like they were voting for him and in addition to really loving Parasite, they started to love him. With editing they did not know any of the editors and so they fell back to going with the most editing. My surprise was in the fact it takes a lot for the Academy to go against the technical achievement in directing unless you have a huge ground swell of support across all branches of the Academy. That type of huge support usually will lead to a win in a category like editing when its the choice of movie A or B in a relatively tight race. Ferrari was out ahead in editing but with the turn of momentum for Parasite and recent guild win in editing by Parasite it was not that far out in front. A huge swell of support for a movie usually can carry it in that type of race.

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    John Berchmans
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    #1203343490

    That is a good point. I do think that Bong-Joon Ho won over a lot of voters with his charm and speeches at some of the precursor events and luncheons. With directing they felt like they were voting for him and in addition to really loving Parasite, they started to love him. With editing they did not know any of the editors and so they fell back to going with the most editing. My surprise was in the fact it takes a lot for the Academy to go against the technical achievement in directing unless you have a huge ground swell of support across all branches of the Academy. That type of huge support usually will lead to a win in a category like editing when its the choice of movie A or B in a relatively tight race. Ferrari was out ahead in editing but with the turn of momentum for Parasite and recent guild win in editing by Parasite it was not that far out in front. A huge swell of support for a movie usually can carry it in that type of race.

    There’s an alternate timeline somewhere in which Parasite swept all 6 of its nominations. It was most likely 1st or 2nd in all of it’s categories (after it’s brutal treatment I think 1917 was 3rd in Production Design).

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