OVP: Best Sound Editing (2008)
The Nominees Were...
Richard King, The Dark Knight
Frank Eulner and Christopher Boyes, Iron Man
Glenn Freemantle and Tom Sayers, Slumdog Millionaire
Ben Burt, and Matthew Wood, WALL-E
Wylie Stateman, Wanted
Frank Eulner and Christopher Boyes, Iron Man
Glenn Freemantle and Tom Sayers, Slumdog Millionaire
Ben Burt, and Matthew Wood, WALL-E
Wylie Stateman, Wanted
My Thoughts: I will admit that I usually dread when we hit the sound categories of the OVP write-ups. I like all of the Oscar categories, admittedly, and there are categories with far worse batting averages (have you seen some of the films that have been nominated for Best Makeup?), but discussing sound is hard. I'm not an NPR host, I cannot spend hours on end talking about the sounds of the world in the same way I can discuss electoral strategy for hours on end or the acting categories at the Oscars. But I am bound-and-determined to make sound editing and mixing an exciting read for you, and I am someone who follows through. Or at least I usually do-let's see, shall we?
If you recall (and if you don't, click the link above), I hated Wanted with a blinding rage. The best part of the movie was the eye candy of the actors (Jolie and McAvoy, obviously, but also a pre-buff Chris Pratt in various states of undress), and when the best part of your movie is making people that would look attractive doing literally anything look attractive, you have a problem. The film gained this nomination both because Wylie Stateman is a staple of this category (seven nominations and counting) and because of the whooshing bullets of the film, which feels more and more like a gigantic Matrix ripoff the further I get away from this film. Other than that, this is standard-fare, and though it does have a train (movies with trains and submarines are generally the best clues as to who will be the fifth slot nominee in this category), it's not even that impressive. All-in-all, I have to say that the constant nominations for Wylie Stateman continue to puzzle me in this category-so far I've only really been onboard with one (Lone Survivor), otherwise he's turning a bit into the Marsha Mason of the Sound Editing category.
Wanted isn't the only film, though, that I thoroughly questioned the nomination for, as Slumdog Millionaire takes the cake there. Honestly-I get that the film might have some sound effects, but really? The mud slinging or the punching or the game effects? Honestly, I don't get this nomination at all. I understand the film had some appeal, and I will understand things like the music nominations and the directing nominations even if I don't agree with them, but this feels like overkill. The movie has very little practical sound effects work and any subtle sorts of effects that might be called out here aren't there either, leaving this as one of those nominations where you have no logical explanation other than that the Academy just really liked a movie, probably the worst excuse to reward something when you aren't talking Best Picture.
Thankfully the final three films at least have an obvious effect to focus upon, and are by far the three best nominations of the bunch. Iron Man takes that annual slot of nominated here but not in Sound Mixing, but that makes a lot of sense considering that one of the centerpieces of the film is the effects of the Iron Man suit. The suit itself is a really cool trick, and something we sort of forget as the series continues, principally because it's more costume in the later movies and practical invention in the first film (it's the Iron Man origin story, after all). The film also does a fine job with Jarvis, which is part Sound Mixing but certainly has an inorganic aspect of his persona that is manufactured for the film. All-in-all, particularly for a film that has aged poorly mostly because the sequels aren't nearly as much fun and RDJ has kind of worn out his welcome around my house, it's worth noting that this is an interesting and traditional sort of nomination worth celebrating.
On similar comic book footing is The Dark Knight, a movie that doesn't quite have the obvious gadgetry of Iron Man, but it does have the advantage of a more robust sound catalog. The film's effects, particularly during chases, are absolutely thrilling-you hear a drop in the music just in-time to hear the roaring of a car or bike, and I loved the way that the film sort of plays with the foreground noise to create more impressive effects (such as when the mayoral assassination attempt takes place). The film's opening scene is probably the best example, though, with the clicks and ticks of the bank robbery being perfectly orchestrated, giving us a great minimalist scene (it's my favorite scene in a 2008 movie, quite frankly) that is very reliant on the sound.
The final nomination is one of those many, many Sound Editing nominations that Pixar managed to land through the years. The film is probably their most deserving contender on the surface-a space odyssey where the two principle characters are robots? This nomination was guaranteed the day the film was announced. Still, it more than lived up to that promise, making a bevy of whirls and clicks a brilliant cacophony of sound. The sound editors actually give our main characters, who don't speak but communicate through these effects, heart and character. That's a rare achievement, and one that should be recognized.
If you recall (and if you don't, click the link above), I hated Wanted with a blinding rage. The best part of the movie was the eye candy of the actors (Jolie and McAvoy, obviously, but also a pre-buff Chris Pratt in various states of undress), and when the best part of your movie is making people that would look attractive doing literally anything look attractive, you have a problem. The film gained this nomination both because Wylie Stateman is a staple of this category (seven nominations and counting) and because of the whooshing bullets of the film, which feels more and more like a gigantic Matrix ripoff the further I get away from this film. Other than that, this is standard-fare, and though it does have a train (movies with trains and submarines are generally the best clues as to who will be the fifth slot nominee in this category), it's not even that impressive. All-in-all, I have to say that the constant nominations for Wylie Stateman continue to puzzle me in this category-so far I've only really been onboard with one (Lone Survivor), otherwise he's turning a bit into the Marsha Mason of the Sound Editing category.
Wanted isn't the only film, though, that I thoroughly questioned the nomination for, as Slumdog Millionaire takes the cake there. Honestly-I get that the film might have some sound effects, but really? The mud slinging or the punching or the game effects? Honestly, I don't get this nomination at all. I understand the film had some appeal, and I will understand things like the music nominations and the directing nominations even if I don't agree with them, but this feels like overkill. The movie has very little practical sound effects work and any subtle sorts of effects that might be called out here aren't there either, leaving this as one of those nominations where you have no logical explanation other than that the Academy just really liked a movie, probably the worst excuse to reward something when you aren't talking Best Picture.
Thankfully the final three films at least have an obvious effect to focus upon, and are by far the three best nominations of the bunch. Iron Man takes that annual slot of nominated here but not in Sound Mixing, but that makes a lot of sense considering that one of the centerpieces of the film is the effects of the Iron Man suit. The suit itself is a really cool trick, and something we sort of forget as the series continues, principally because it's more costume in the later movies and practical invention in the first film (it's the Iron Man origin story, after all). The film also does a fine job with Jarvis, which is part Sound Mixing but certainly has an inorganic aspect of his persona that is manufactured for the film. All-in-all, particularly for a film that has aged poorly mostly because the sequels aren't nearly as much fun and RDJ has kind of worn out his welcome around my house, it's worth noting that this is an interesting and traditional sort of nomination worth celebrating.
On similar comic book footing is The Dark Knight, a movie that doesn't quite have the obvious gadgetry of Iron Man, but it does have the advantage of a more robust sound catalog. The film's effects, particularly during chases, are absolutely thrilling-you hear a drop in the music just in-time to hear the roaring of a car or bike, and I loved the way that the film sort of plays with the foreground noise to create more impressive effects (such as when the mayoral assassination attempt takes place). The film's opening scene is probably the best example, though, with the clicks and ticks of the bank robbery being perfectly orchestrated, giving us a great minimalist scene (it's my favorite scene in a 2008 movie, quite frankly) that is very reliant on the sound.
The final nomination is one of those many, many Sound Editing nominations that Pixar managed to land through the years. The film is probably their most deserving contender on the surface-a space odyssey where the two principle characters are robots? This nomination was guaranteed the day the film was announced. Still, it more than lived up to that promise, making a bevy of whirls and clicks a brilliant cacophony of sound. The sound editors actually give our main characters, who don't speak but communicate through these effects, heart and character. That's a rare achievement, and one that should be recognized.
Other Precursor Contenders: The Golden Reel Awards separate their nominations into three different categories: feature film, animation, and foreign film. The feature film nominees included The Dark Knight (the victor), Cloverfield, The Curious Case of Benjamin Button, Eagle Eye, Indiana Jones and the Kingdom of the Crystal Skull, Iron Man, Speed Racer (remember THAT movie?!?), and Wanted. Animated was pretty much every animated film that year, with WALL-E of course besting Waltz with Bashir, Bolt, Peurs du Noir, Horton Hears a Who!, Kung Fu Panda, Madagascar 2, and The Tale of Despereaux. Foreign film (not necessarily in a foreign language, it should be noted) went with Slumdog Millionaire over Hellboy II, Australia, In Bruges, Prince Caspian, Quantum of Solace, and Sukiyaki Western Django, one of those rare nominees I've never actually heard of before typing it just now. Sixth place was probably Benjamin Button, as Quantum didn't have the great reviews of Skyfall to break through the Oscars weird aversion to James Bond.
Films I Would Have Nominated: Hmm-I think I'd probably find room for Hellboy II if only for that great final effect with the moving floors, and I know this is probably blasphemy, but part of me wonders if Indiana Jones 4 deserves the final nomination. I know it was a terrible movie, but I actually remember liking the opening chase scene, and the explosions were really quite impressive. If not that at least Kung Fu Panda, which has a strong assortment of martial arts fights that deserved this slot more than Wanted or Slumdog.
Oscar’s Choice: I'm going to be honest-this is the first time ever I think I've had to look this up for the OVP, but it was The Dark Knight, I suspect in a bit of a nod over WALL-E, winning its only tech Oscar.
My Choice: I'm going to have to differ with the Academy here and go with WALL-E, a gigantic effect that cannot be denied. Dark Knight, Iron Man, Wanted, and Slumdog follow.
Those are my thoughts-what are yours? Are you with me on the ridiculousness of Wanted and Slumdog being cited? Do you agree with Oscar that The Dark Knight was the right choice or should it have been my choice of WALL-E? And I'm genuinely curious-what five movies would you have nominated this year?
Also in 2008: Original Score, Original Song, Art Direction, Cinematography, Costume, Film Editing, Visual Effects, Makeup, Previously in 2008
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