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Underestimating “TGBH” in EDITING

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  • David Baruffi
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    #178840

    Hey, “The Grand Budapest Hotel” won the ACE Award, and looking over the nominee, is suddenly occurred that that film has the one thing editors love and most people who know editing know is the toughest thing to edit, and that’s a chase sequence. A long one at that. In fact, much of the movie feels like a long chase sequence at times. It beat out “Birdman…” for the ACE, and while “Boyhood” beat everybody else, it’s mostly been “Boyhood” or “Whiplash” in the predictions center; are we underestimating “The Grand Budapest Hotel” for Editing, the more I look at the nominees, the more I find me talking myself into it.  

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    Jalal Haddad
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    #178842

    In a less crowded year I think it would be a possibility but there are too many other obvious choices. Boyhood is a BP frontrunner and they had to edit 12 years worth of material. American Sniper as a war film will receive votes. Whiplash’s editing has been universally praised. But who knows? Maybe it will be a similar situation to the time Hugo and The Artist split the votes, making room for The Girl With the Dragon Tatttoo to win

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    GusCruz
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    #178843

    I think we are underestimating TGBH in Cinematography

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    Filmatelist
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    #178844

    In a less crowded year I think it would be a possibility but there are too many other obvious choices. Boyhood is a BP frontrunner and they had to edit 12 years worth of material. American Sniper as a war film will receive votes. Whiplash’s editing has been universally praised. But who knows? Maybe it will be a similar situation to the time Hugo and The Artist split the votes, making room for The Girl With the Dragon Tatttoo to win

    HUGO and THE ARTIST did not “split” anything!  Enough of this nonsensical use of a dubious meme.

    While GBH might have what one can technically call a “chase”, it’s not BULLITT or FRENCH CONNECTION or BOURNE ULTIMATUM or even TATTOO.  Those won for action sequences that were tight, intense, and visceral.  Is the Anderson chase playful, warm and full of momentum?  Sure.  Not the same.

    I agree that it’s between WHIPLASH (montages & fast-moving music passages), BOYHOOD (story covers multiple time periods, another Academy fave) and SNIPER (War, natch).

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    David Baruffi
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    #178845

    I could see some people thinking that Wes Anderson chase sequences are actually harder though than some of those classic chase sequences, especially since it is going for comedy and not visceral action, there’s just as much timing involved, and there’s a lot of quick back-and-forth cuts and edits, but still you make a good point Filmatelist. I think what it’s really got going against it is it’s a comedy, and if you discount “Who Framed Roger Rabbit” as a technical achievement, the last time a comedy won Editing was “The Apartment” in 1960. That said, I’m still not sure we should be discounting it as much as we are, especially when there isn’t an obvious “The French Connection” or “The Bourne Ultimatum” out there. But, yeah, I’m leaning towards “Whiplash”, myself at the moment. 

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    Eddy Q
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    #178846

    I wouldn’t mind GBH winning for Editing, and to my non-specialist judgement it’s slightly more deserving than Whiplash. Not for nothing was it runner-up for editing in LA Critics. But like others have indicated, there has always been strong bias against comedies in this category, unless it’s a Best Picture frontrunner or an obvious technical marvel like Who Framed Roger Rabbit. I’ve been switching back and forth between Boyhood and Whiplash for my prediction, but I think I’m settled on Boyhood now. It’s got a good narrative with the complexity involved in putting together 12 years of footage, and the narrative fluidity Sandra Adair achieved. They don’t always go for “most editing”, as Captain Phillips proved only last year (and I was insisting it would win!) Plus I’m tentatively going for a Boyhood BP win so it makes sense for me to predict it here as well.

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    Actriz
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    #178847

    I’m TGBH’s biggest fan on this board but I can’t see it winning this category over Whiplash.

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    ETPhoneHome
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    #178848

    I’m TGBH’s biggest fan on this board but I can’t see it winning this category over Whiplash.

    I am probably its second biggest fan on the board, and I agree that its wins will be in Screenplay, costuming, production design, makeup and it has an outside shot at score. Editing is unlikely, given the competition, but it could still wind up as the biggest winner of the night.

    Come participate in this year's Goldderby Rankings! http://www.goldderby.com/forum/movies/2017-goldderby-rankings/

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    Eddy Q
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    #178849

    Contrary to most predictions I actually think Grand Budapest has a stronger hold on score than costumes. Into the Woods is a formidable challenger in the latter, and I’m not quite buying the frontrunner status of TofE in the former. It won Globe where Grand Budapest wasn’t nominated, and that’s it. Everywhere the two scores have competed, either Grand Budapest has won (BAFTA and a few critics awards) or they’ve both lost to something not Oscar-nominated like Birdman or Under the Skin. Plus the music is a much more prominent force in Grand Budapest than in Theory, which doesn’t support its drippy sentimentality with even a decent tune.

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