OVP: Best Sound Mixing
The Nominees Were...
David Parker, Michael Semanick, Ren Klyce, and Bo Persson, The Girl with the Dragon Tattoo
Tom Fleischman and John Midgley, Hugo
Deb Adair, Ron Bochar, David Gimmarco, and Ed Novick, Moneyball
Greg P. Russell, Gary Summers, Jeffrey J. Haboush, and Peter J. Devlin, Transformers: Dark of the Moon
Gary Rydstrom, Andy Nelson, Tom Johnson, and Stuart Wilson, War Horse
My Thoughts: Since we just discussed the differences between Sound Editing and Sound Mixing, I won't rehash that here (see the Sound Editing link below for a more detailed look). However, I will most gladly discuss what I love about a generic film's sound, as we all go into this category expecting different things-I respect as much silence as I do the perfectly executed cacophony of noise that can come with a movie. An action blockbuster can have spectacular sound mixing, but only if it respects the explosions as much as it does the time when the characters are talking.
That's the problem with the sound design in Transformers (you felt I was going there, didn't you?). The sound work in Transformers action sequences is excellent-a blend of whirling metal, crashing glass, and quiet lead-ups. But it doesn't find a balance in a respectful way in the non-action sequences, in my opinion. The sound stays at nearly insufferable decibels even when it's just Shia LaBeouf chatting on-screen with his supermodel girlfriend. There is no damper switch, and the movie seems to constantly want to shove in more noise to keep the audience guessing, but I think it just makes them dizzy. When it's constant motion on-screen, that's when it's appropriate to have a barrage of sound on the big screen. However, it's okay to let the movie, which has some comic bits, stop the shouting when things slow down.
A strong example of this mix is War Horse. War Horse also has extensive battle sequences, and an intense score to push along with the quieter, gentler scenes, and it takes full advantage of it. Imagine the wind that seems to sweep through the scenes when Joey is on the run, or how the score guides the film's softer moments. Think of the quiet stop during the pivotal scene with Joey entangled in the barbed wires-how you can feel the silence accentuated with every heavy breath and cold yell across to the enemy. It sits pleasantly on the ears, and gives the goosebumps with quick ease.
Moneyball, the sole contender who doesn't also feature in the Sound Editing category, also finds these silences. Here it's being marked against the clang of bats and increasingly celebratory fans, but I have to say that the sounds I remember most readily from this film are Brad Pitt's young daughter singing about being "stuck in the middle" and the soft whispers of the flashbacks. The strong balance in the stadium is also a knowing victory- the mixers capture the real-time sounds of an audience of loyal fans who are dealing with a team that struggles and then suddenly comes out of nowhere to win is quite accurate of a real-life stadium-bigger cheers with the unexpected and more groans than "boo's when they fail.
Hugo, with the obvious exception of Transformers, has the most sound, but with the exception of the Sound Editing, which we've already pointed out is solid, I saw nothing all that remarkable here. Granted, the sound mixer should get some credit for the sound effects that are on display here, since the two men clearly had to find room for them, but the conversations don't ring as twinkling as they likely should, considering the fairy dust that seems to surround this entire movie. The Sound team also should have become better friends with Thelma Schoonmaker, since anything to cut down on Sacha Baron Cohen's wildly over-the-top annunciation would be beneficial.
Finally, we come to Dragon Tattoo, and I think my feelings have been rather readily discussed regarding this film before. With the exception of Moneyball, I think this is the only film whose sound mixing is better than its Sound Editing, but again-what's so special here? I loved the outdoors scenes, particularly the ones blistered by the cold, but the rest of the movie moves along aurally with your typical bag of bumps-in-the-dark, angry yells, and over pronunciation of every single word to point out who the real killer is. It's not the sound team's fault that they received an Oscar nomination (that blame falls on the Academy), so I won't berate too much more, but this is hardly one of the year's five best.
That's the problem with the sound design in Transformers (you felt I was going there, didn't you?). The sound work in Transformers action sequences is excellent-a blend of whirling metal, crashing glass, and quiet lead-ups. But it doesn't find a balance in a respectful way in the non-action sequences, in my opinion. The sound stays at nearly insufferable decibels even when it's just Shia LaBeouf chatting on-screen with his supermodel girlfriend. There is no damper switch, and the movie seems to constantly want to shove in more noise to keep the audience guessing, but I think it just makes them dizzy. When it's constant motion on-screen, that's when it's appropriate to have a barrage of sound on the big screen. However, it's okay to let the movie, which has some comic bits, stop the shouting when things slow down.
A strong example of this mix is War Horse. War Horse also has extensive battle sequences, and an intense score to push along with the quieter, gentler scenes, and it takes full advantage of it. Imagine the wind that seems to sweep through the scenes when Joey is on the run, or how the score guides the film's softer moments. Think of the quiet stop during the pivotal scene with Joey entangled in the barbed wires-how you can feel the silence accentuated with every heavy breath and cold yell across to the enemy. It sits pleasantly on the ears, and gives the goosebumps with quick ease.
Moneyball, the sole contender who doesn't also feature in the Sound Editing category, also finds these silences. Here it's being marked against the clang of bats and increasingly celebratory fans, but I have to say that the sounds I remember most readily from this film are Brad Pitt's young daughter singing about being "stuck in the middle" and the soft whispers of the flashbacks. The strong balance in the stadium is also a knowing victory- the mixers capture the real-time sounds of an audience of loyal fans who are dealing with a team that struggles and then suddenly comes out of nowhere to win is quite accurate of a real-life stadium-bigger cheers with the unexpected and more groans than "boo's when they fail.
Hugo, with the obvious exception of Transformers, has the most sound, but with the exception of the Sound Editing, which we've already pointed out is solid, I saw nothing all that remarkable here. Granted, the sound mixer should get some credit for the sound effects that are on display here, since the two men clearly had to find room for them, but the conversations don't ring as twinkling as they likely should, considering the fairy dust that seems to surround this entire movie. The Sound team also should have become better friends with Thelma Schoonmaker, since anything to cut down on Sacha Baron Cohen's wildly over-the-top annunciation would be beneficial.
Finally, we come to Dragon Tattoo, and I think my feelings have been rather readily discussed regarding this film before. With the exception of Moneyball, I think this is the only film whose sound mixing is better than its Sound Editing, but again-what's so special here? I loved the outdoors scenes, particularly the ones blistered by the cold, but the rest of the movie moves along aurally with your typical bag of bumps-in-the-dark, angry yells, and over pronunciation of every single word to point out who the real killer is. It's not the sound team's fault that they received an Oscar nomination (that blame falls on the Academy), so I won't berate too much more, but this is hardly one of the year's five best.
Other Precursor Contenders: The Cinema Audio Society gave its top prize to Hugo, and decided to skip War Horse, Transformers, and Dragon Tattoo in favor of the flying arrows of Hanna (which just earned a spot on the Netflix queue), the swashbuckling of Pirates of the Caribbean: On Stranger Tides (considering all of its precursors, one of the stronger cases for the "most snubbed film" award), and the impending aliens of Super 8. Hugo also took the top prize at BAFTA, and they somehow found room for The Artist (huh?), Tinker Tailor Soldier Spy, and Harry Potter and the Deathly Hallows, Part 2, keeping only the train station dweller and the heroic horse from AMPAS's lineup.
Films I Would Have Nominated: Once again, I'm drawn to the soft rustling trees and the pronounced "No!" of Rise of the Planet of the Apes, and the sweeping classical music that carries The Tree of Life from the start to the end of time.
Oscar's Choice: Oscar couldn't turn down Hugo, giving it a fifth trophy.
My Choice: Unlike Sound Editing, this one is a bit easier. War Horse has a more difficult task than Moneyball, and I remember its sounds more distinctly nearly a year after viewing the film. I'll give it the trophy, with Moneyball at place and Transformers coming in at show. Hugo and Dragon Tattoo bring up the rear.
With that, we have hit the halfway point-of the five films, what movie deserved the trophy? What films should have been nominated? And of all films in 2011, which had truly the best Sound Mixing?
Also in 2011: Sound Editing, Original Score, Original Song, Art Direction, Cinematography, Costume, Editing, Visual Effects, Makeup, 2011 Recap
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