The Motion Picture Sound Editors gave out their awards last night.
Ford v Ferrari won for SFX+Foley, while 1917 won Dialogue+ADR, Jojo Rabbit won Music and Rocketman won Music in a Musical. Parasite won for Foreign Language Film, to nobody’s surprise. And Toy Story 4 won for Animation, further cementing that film’s status as the Animated Feature winner.
This isn’t a huge help for us in the Sound Editing (or Mixing) category, since Ford v Ferrari and 1917 are figuring to be the two big frontrunners there. The rest of the category in Editing is Joker, Once Upon a Time in Hollywood and Star Wars, so not that we needed the help, but those are the clear favorites. Though the only distinction we really have for what’s gonna win is that 1917 is the big war Best Picture nominee with 10 nominations and Ford v Ferrari only has four nominations, almost all technical. We’ll see what CAS does on Saturday night, though 1917 isn’t nominated there, so I suspect Ford v Ferrari will win or Once Upon a Time will win. Pretty much whatever they do is gonna make our lives harder in guessing these categories. So that’ll be fun.
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Okay, so the Academy just dumped nine shortlists on us today. But before we get into those, you’re all gonna have to listen to the Motion Picture Sound Editors Guild nominees for Sound Editing.
This might be the last time they get their own category, since the Academy is thinking of folding the Sound categories into a single entity. Which won’t diminish how important the guild is for guessing nominees and winners, but it will just take away half the category we’ve become used to.
Anyway, MPSE nominates a bunch of categories. FX+Foley is the big one, Dialogue + ADR is the second big one, and then there’s Music as a third, and then Musical and Animated are also kinda there. But it’s those big three in that order that matter.
As a reminder, the Sound Mixers guild, in their one category, nominated Ford V. Ferrari, The Irishman, Joker, Once Upon a Time in Hollywood and Rocketman.
Anyway, here are your nominees for Sound Editing from MPSE: (more…)
The MPSE handed out their awards for Sound Editing tonight. For some reason I always feel like they end up announcing later than everyone, but this year they manage to come in second to last, with CDG announcing on Tuesday to close out the precursors.
SFX+Foley went to A Quiet Place, while Dialogue+ADR and Music in a Musical went to Bohemian Rhapsody. Into the Spider-Verse won for Music as well as winning the Animation award, further cementing that movie’s status as basically a guaranteed winner in Animated Feature. The Documentary category was a tie between Free Solo and They Shall Not Grow Old, which I mention mostly because They Shall Not Grow Old is amazing. Oh, and Roma won their Foreign Language category, which I guess is something.
The interesting thing to me about this is that First Man, which to me had the best sound design of the year, won zero precursor awards, and based on everything I see here, it looks like Bohemian Rhapsody could legitimately win both Sound categories. I’m not sure how much I buy that, but damn if that’s not an interesting turn of events.
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The Motion Picture Sound Editors announced their nominees today. Which is odd, because they previously said they would announce on Monday. Wonder if the fact that Oscar nominations are Tuesday had something to do with it. They did that shit last year too, where they announced day before Oscar nominations, which did nobody any good.
But anyway, here they are, three days early. Now I’ll be able to go into the weekend with every guild at my disposal. Which is good, since the Sound categories are always their own deep, dark woods.
Here are your MPSE nominees for 2018: (more…)
The Motion Picture Sound Editors announced their winners last night. Here are the winner:
Dialogue + ADR: War for the Planet of the Apes
Effects + Foley: Blade Runner 2049
Musical: The Greatest Showman
Interesting that Dunkirk wins for Music and now for Effects + Foley. And that Baby Driver wins nothing. This year is starting to sound a lot like last year, where either Dunkirk, the war film, wins both Sound categories, or there’s a split between it and Blade Runner or it and Baby Driver or some combination of the three. I don’t expect Star Wars to win either one, and Shape of Water… not sure it wins the Sound categories. CAS announces on Saturday. We’ll have a better handle on the Sound categories then.
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The Motion Picture Sound Editors announced their nominees today, right under the wire before Oscar nominations.
I know I still owe you guys my Oscar picks for tomorrow. Bear with me. This is my first time writing up the article while sitting in ICU. It’ll come. It’s just delayed. In the mean time, SOUND EDITING! HOORAY!
Here are your MPSE nominees: (more…)
The Sound Editors announced too last night. This is the last one. After this it’s just costumes midweek and then we’re really done.
Hacksaw Ridge won for Fx + Foley and Dialogue + ADR, while La La Land won for Music.
So of your three major awards, Hacksaw won two of them. That’s usually the sign of an easy win, but La La Land also has to be taken into account for the sweep.
However, now Hacksaw also has to be taken into account of the sweep. Which brings us to our annual manta — “Don’t split the Sound categories, Mike.”
I have a week to not screw this up. Let’s see how I do.
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And the Motion Picture Sound Editors announced their nominees. Too little, too late, as always. Now we’re doing is looking at them to see how closely they matched the nominations we already know.
Let’s do a quick rundown of them:
Dialogue + ADR: Arrival, Deadpool, Hacksaw Ridge, Hell or High Water, Hidden Figures, Lion, Rogue One: A Star Wars Story, Sully
Effects + Foley: Arrival, Captain America: Civil War, Deadpool, Deepwater Horizon, Doctor Strange, Hacksaw Ridge, The Jungle Book, Rogue One: A Star Wars Story
Music: 13 Hours: The Secret Soldiers of Benghazi, Arrival, Doctor Strange, Don’t Breathe, Hacksaw Ridge, Rogue One: A Star Wars Story, Star Trek Beyond, Warcraft
Musical: Florence Foster Jenkins, La La Land, Moana, Sing Street, Trolls
Animation: Finding Dory, Kubo and the Two Strings, The Little Prince, Moana, The Red Turtle, Sing, Zootopia
So based on this, I’d have guessed Arrival, Hacksaw, Rogue One, Sully and probably Deepwater. Which I did. And then I’d have been wrong because La La Land managed to get on.
I always hate that they don’t announce beforehand, but honestly, there are so many nominees, you don’t really get so much help out of them. Mostly it’s confirming what you already knew and you’re still guessing for 1-2 of them.
The last guild has FINALLY announced their winners. You know, the night before the fucking Oscars, as if that helps us in any way.
Let’s run through them quickly:
Dialogue + ADR: Bridge of Spies
Sound Effects + Foley: Mad Max: Fury Road + The Revenant (TIE!!!!)
Music in a Feature Film: Star Wars: The Force Awakens
Music in a Musical: Love & Mercy
Well, that’s certainly a deadlock. Probably spells trouble for Mad Max tomorrow.
Oh hey, the Sound Editors guild announced their nominees. Could have used these two weeks ago.
Not much to say here, since we already have our Oscar nominations. But I go over all the guilds, so here they are.
Dialogue + ADR in a Feature Film
Bridge of Spies
Mad Max: Fury Road
Star Wars: The Force Awakens
Straight Outta Compton (more…)
The Motion Picture SOund Edtorsalso gave out awarsd tonight.
What does that leave? Only the Costume Designers left to give out their guild awards. And that’s on Tuesday. Which means we’ve essentially got every piece of the puzzle we’re going to have to solve this year’s Oscars. Voting closes Tuesday as well, by the way.
Anyway, these awards are for sound editing, which is the creation and design of all the sounds used in the film. So basically… the creation of gunshots, all of the dialogue, the picking of the music tracks, etc. etc. All of that is sound editing. And sound mixing is what you hear in the film. They’re similar, yet different. This one is more about the physical creation of the sounds, rather than the entire, completed mix. Sound editing is part of sound mixing.
Anyway, here are the MPSE winners: (more…)
The Motion Picture Sound Editors released their nominations. (Really under the wire, too.)
Since my Oscar guesses article is about to hit the presses, we’ll be quick:
Sound Effects + Foley in a Feature
Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Guardians of the Galaxy
The Motion Picture Sound Editors announced their awards last night.
There are a lot of categories, so let’s run through them quickly:
Best Sound Effects + Foley went to Gravity. This is basically the main award, keeping Gravity as your frontrunner to win the Oscar.
Best Dialogue + ADR went to Captain Phillips. This is expected. Gravity wasn’t winning this unless there was going to be an obvious sweep.
And then here’s a rundown of the lesser categories that don’t matter for the award:
Best Animated Sound Editing went to Epic, Best Foreign Language Sound Editing went to The Grandmaster, Best Music in a Musical Feature went to Frozen, Best Music in a Feature went to The Great Gatsby, and Documentary Sound Editing went to Dirty Wars.
Your Oscar category is Gravity, Captain Phillips, The Hobbit, All Is Lost and Lone Survivor, and at this point, it seems ludicrous that anything other than Gravity is going to win it.
The Motion Picture Sound Editors announced their nominations today for their Golden Reel Awards.
Funny, I thought they were announcing after Oscar nominations. I guessed they bumped them up to add extra intrigue or something. Which makes sense, even though nominations have been decided from a week ago. But now all the guilds are in, so that’s good. Allows us to guess a little better.
Here are your MPSE Nominations:
Best Sound Editing: Sound Effects and Foley
All Is Lost
Fast & Furious
The Hobbit: The Desolation of Smaug
Iron Man 3
Lone Survivor (more…)
The Motion Picture Sound Editors announced their winners last night. This one’s gonna be light on analysis, since my Sound Mixing and Sound Editing article is coming up soon, and I’ll talk about what the wins here mean in that article. But, for now, we have winners.
In the category of Sound Effects and Foley in a Feature Film, with a shitload of nominees (Argo, Django Unchained, Life of Pi, The Avengers, Prometheus, Skyfall, Dark Knight Rises and The Hobbit, which contains 4/5 of your Oscar category, sans Zero Dark Thirty), the winner was Skyfall.
In the category of Dialogue and ADR in a Feature Film (which featured Argo, Beasts of the Southern Wild, Life of Pi, Lincoln, Moonrise Kingdom, Silver Linings Playbook, Skyfall and The Hobbit as its nominees), the winner was Life of Pi, which is pretty interesting.
In the category of Music in a Feature Film (nominees being Argo, Cabin in the Woods, Django Unchained, Life of Pi, Lincoln, Skyfall, Dark Knight Rises, and The Hobbit), Life of Pi won again, which I wager says a lot about where Best Original Score is gonna end up.
In the category of Music in a Musical Feature Film, I don’t have to bother with the nominees, since Les Misérables obviously won. And also, to save time, Rust and Bone won for Foreign Language, Last Call at the Oasis won for Documentary, and Wreck-It Ralph won for Animation, as it absolutely should have.
So those are your Sound Editors Guild winners. The Costume Designers announce tonight, and I think they’re the last guild leading up to the awards. So at this point it’s all figuring out predictions for Sunday.
The MPSE (finally!) announces the nominees for their Golden Reel Awards. Let’s not waste time (especially since they’re pretty meaningless to us now), here they are:
Best Sound Editing: Sound Effects and Foley in a Feature Film
Life of Pi
Marvel’s The Avengers
The Dark Knight Rises
The Hobbit: An Unexpected Journey (more…)
Tonight, two major awards were given out, the first being the WGA Awards. I’ll do those quickly, since they were the least surprising and interesting of the two.
The Descendants won Best Adapted Screenplay, pretty much cementing that as the probable Oscar winner (over Moneyball, which hasn’t really made enough of a push to seem poised for an upset), and Midnight in Paris won for Original Screenplay, which was a given, since The Artist was ineligible. That’s always been the favorite for the Oscar alongside (and probably ahead of) The Artist. So no surprises there.
The other awards given out today were the Motion Picture Sound Editors Awards. There were lots of categories there, so I’ll do my best to make it brief and sum it up as best I can. Cutting out all the awards not relevant to the Best Sound Editing category at the Oscars (The Muppets winning Best Music in a Musical Film and Tintin winning for Animated): Hugo won Best Sound Editing: Music in a Feature Film. War Horse won Best Sound Editing: Sound Effects and Foley in a Feature Film. And Super 8 won Best Sound Editing: Dialogue and ADR in a Feature Film. What this means and a more thorough (barely) breakdown of these awards after the jump. (more…)
They announced the Motion Picture Sound Editors nominations today.
There’s been an update in terms of my understanding of the categories. Apparently my looking it up wasn’t quite as good a job as I’d expected. The actual way it works, according to what I’ve now looked up, is: Sound Editing is the creation of the sound mix — dialogue, sound effects, ADR and music (as evidenced by all these categories). Sound Mixing is the physical process of mixing all of these together onto the soundtrack. Which makes much more sense. So I’ve pretty much been wrong all this time. I prefer to think of it as “misinformed.” No one’s called me out on it and corrected me, so I like to think about it as — we’re all misinformed. Kind of like in high school when none of us were actually properly taught grammar.
Anyway, here are all the nominees — there are a lot of them. Be prepared.
BEST SOUND EDITING: SOUND EFFECTS AND FOLEY IN A FEATURE FILM
The Girl with the Dragon Tattoo
Mission: Impossible — Ghost Protocol
Rise of the Planet of the Apes
Transformers: Dark of the Moon
War Horse (more…)