Cinematography may be the most fundamental aspect of filmmaking, but editing is its complementary rudimentary component. The shot and the edit work together to create the feeling of dynamism and movement in film (aside, of course, from the physical projection that creates the actual “movement” in a film image).
Editing is great. It is important to create a seamless experience, and it can be an excruciating task depending on the footage given. An edit can be subtle and incredibly meaningful, or a scene can be expertly sliced to create a fast paced action scene. In the case of the 2017 Oscars, we have examples of both.
- Arrival – Joe Walker
- Hacksaw Ridge – John Gilbert
- Hell or High Water – Jake Roberts
- La La Land – Tom Cross
- Moonlight – Joi McMillon, Nat Sanders
Will Win: La La Land
Could Win: Moonlight or Hacksaw Ridge
Should Win: Hacksaw Ridge
The edit in Hacksaw Ridge is quite good. The extended war sequences in the film are cut together to create an enjoyable experience, even when those sequences go on for too long. Given that the war battle sequence has been done on film over and over since the early decades of cinema, seeing one that is genuinely interesting in 2016 is worth noting.
This said, the words La La Land also exist in this category. Will I go through all of these predictions without choosing La La Land to lose? Perhaps. But the editing in La La Land is as pivotal as its music. They go hand in hand. I would like to see Hacksaw Ridge take the upset here, but I am not confident saying that it will happen.
As always, thanks for reading!
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—Alex Brannan (@TheAlexBrannan)