I've been thinking the exact same thing. I'm sure it will win here as part if its tech sweep, but I reckon Captain Philips should be the front runner.Sabin wrote:Here's my question...
With so much of Gravity intentionally soundless (whenever debris hits those satellites), isn't Gravity a rather wonky front-runner?
Categories One-by-One: Sound Editing
Re: Categories One-by-One: Sound Editing
Re: Categories One-by-One: Sound Editing
Here's my question...
With so much of Gravity intentionally soundless (whenever debris hits those satellites), isn't Gravity a rather wonky front-runner?
With so much of Gravity intentionally soundless (whenever debris hits those satellites), isn't Gravity a rather wonky front-runner?
"How's the despair?"
Re: Categories One-by-One: Sound Editing
Here is a Hollywood Reporter article from a couple years ago that I think does a good job distinguishing the difference between sound editing and sound mixing.
http://www.hollywoodreporter.com/race/o ... ers-276448
http://www.hollywoodreporter.com/race/o ... ers-276448
Re: Categories One-by-One: Sound Editing
I would vote for Lone Survivor easily (and I think it has a lot more going for it than BJ acknowledges), but I agree that Gravity is a solid frontrunner here, with Captain Phillips in second place.
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Big Magilla
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Re: Categories One-by-One: Sound Editing
This one is definitely Gravity's to lose and the only way that will happen is if they decide to spread the wealth in which case the expertly crafted Captain Phillips should be the recipient.
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The Original BJ
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Categories One-by-One: Sound Editing
Might as well start these up!
Pretty good slate this year -- it's hard to argue that any of these candidates are undeserving, and voters thankfully ignored some of the worst-of-the-worst junk options that can sometimes garner a stray nod here.
All is Lost, that once highly-touted major candidate, survived a total nomination shut-out with its one bid here. And despite my lack of enthusiasm for the film, I have to admit that the sound work was one of its strongest elements. All of those noises of flooding water, loud storms, and quiet but intricately designed boat creaking, get a ton of mileage out of the mostly dialogue-free environment. But it's probably the quietest of of the nominees here, which is never a plus for the win, and the last time a sole nominee won here it was competing against two other sole nominees. Which is to say, I think one of the more widely-popular entries is more likely to prevail.
The Hobbit certainly excels in the loud department -- battles against Orcs, battles against giant spiders, and battles against that giant fire-breathing dragon got the film back into contention here after the first Hobbit sat the race out. But I think there's a feeling overall that the series has been rewarded, and this general fatigue will likely have voters looking elsewhere.
I thought the experience of Lone Survivor was basically like watching paint dry. It might as well have been called Fighting: The Movie. But while it has basically no plot, no characters, and no interesting ideas...it does have sound. Lots and lots of sound. War movies have often triumphed here, and so much of Lone Survivor contains the kinds of gunshots and explosions that have bolstered films in this genre to wins in this category. But with two Best Picture nominees on the ballot, I don't think even this movie's surprise box office will allow it to make too much of a dent.
Captain Phillips would seem to be a strong contender, based on recent winners in the category. Zero Dark Thirty copped this prize for the sound effects for its own real-life military mission, and The Bourne Ultimatum carried the day for Paul Greengrass last time. And the sound work here is really terrific -- that last chunk of the movie is pretty much slam-bang noise all the way through, and even though I thought the narrative dipped a bit at this point, it's hard to deny it was pretty terrifically mounted technically. I'd say it's in the hunt.
But I think I'll be betting on Gravity, which feels like it has the strongest combo of credentials for this category: huge blockbuster, highly competitive Best Picture candidate, one sound-packed action sequence after another. Regardless of what you think of Gravity overall, it's hard to deny that the film is a pretty phenomenal technical achievement, and I think the fact that so much of the movie's dazzling sounds were so obviously created in post makes it a very strong contender here. Gravity may or may not win one or both of the top prizes, but I think it will pretty strongly be the year's dominant down-ballot victor -- the Hugo of this year -- and I'd view this category as a pretty likely feather in its awards cap.
Pretty good slate this year -- it's hard to argue that any of these candidates are undeserving, and voters thankfully ignored some of the worst-of-the-worst junk options that can sometimes garner a stray nod here.
All is Lost, that once highly-touted major candidate, survived a total nomination shut-out with its one bid here. And despite my lack of enthusiasm for the film, I have to admit that the sound work was one of its strongest elements. All of those noises of flooding water, loud storms, and quiet but intricately designed boat creaking, get a ton of mileage out of the mostly dialogue-free environment. But it's probably the quietest of of the nominees here, which is never a plus for the win, and the last time a sole nominee won here it was competing against two other sole nominees. Which is to say, I think one of the more widely-popular entries is more likely to prevail.
The Hobbit certainly excels in the loud department -- battles against Orcs, battles against giant spiders, and battles against that giant fire-breathing dragon got the film back into contention here after the first Hobbit sat the race out. But I think there's a feeling overall that the series has been rewarded, and this general fatigue will likely have voters looking elsewhere.
I thought the experience of Lone Survivor was basically like watching paint dry. It might as well have been called Fighting: The Movie. But while it has basically no plot, no characters, and no interesting ideas...it does have sound. Lots and lots of sound. War movies have often triumphed here, and so much of Lone Survivor contains the kinds of gunshots and explosions that have bolstered films in this genre to wins in this category. But with two Best Picture nominees on the ballot, I don't think even this movie's surprise box office will allow it to make too much of a dent.
Captain Phillips would seem to be a strong contender, based on recent winners in the category. Zero Dark Thirty copped this prize for the sound effects for its own real-life military mission, and The Bourne Ultimatum carried the day for Paul Greengrass last time. And the sound work here is really terrific -- that last chunk of the movie is pretty much slam-bang noise all the way through, and even though I thought the narrative dipped a bit at this point, it's hard to deny it was pretty terrifically mounted technically. I'd say it's in the hunt.
But I think I'll be betting on Gravity, which feels like it has the strongest combo of credentials for this category: huge blockbuster, highly competitive Best Picture candidate, one sound-packed action sequence after another. Regardless of what you think of Gravity overall, it's hard to deny that the film is a pretty phenomenal technical achievement, and I think the fact that so much of the movie's dazzling sounds were so obviously created in post makes it a very strong contender here. Gravity may or may not win one or both of the top prizes, but I think it will pretty strongly be the year's dominant down-ballot victor -- the Hugo of this year -- and I'd view this category as a pretty likely feather in its awards cap.