What is often the operative question with the two sound categories is whether or not they will go to the same film. More often than not, if a film stands out for either editing or mixing, it also stands out in the other.
This year, I think there is a case to be made for both the split and the sweep.
Continue reading 2019 Oscar Predictions – Best Sound Editing and Best Sound Mixing
There is always some overlap between the two sound categories. Sound Editing is the creation of foley. Sound Mixing is the recording and mixing of the soundtrack. They are two distinct aspects of sound production, but often if a film does one well it does the other similarly well.
That said, a well-mixed film may not require a lot of sound effect production. A musical, perhaps. A film may require a heavy amount of foley, which usually means the mix is harder to master. An action movie, perhaps. A lot goes into the soundtrack, making it hard sometimes to discern whether the Academy will honor films in both categories, one, or none.
Continue reading 2019 Oscar Nominations Predictions – Best Sound Editing/Mixing
The first sequence in A Quiet Place is one of the more immediately tense openings to a horror movie in recent memory. Without fully understanding the world, we understand almost from the first shot what sort of situation we have entered into. The film opens in an abandoned pharmacy, where a family is quietly perusing the aisles for supplies. The family speaks only in sign language, even though only the daughter (Millicent Simmonds) is deaf. It is clear that something bad comes with too much noise, so they don’t make a sound.
Until they do.
It’s a completely effective opening to the film. Continue reading A Quiet Place (2018) Movie Review
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