Saturday, February 20, 2016

Awards-Nazi Award Nominations: Sound Editing

Only a little more than a week before the big night. Over the next three days I'll be polishing off my personal nominations, leading up to the unveiling of my top 20 list starting on Tuesday.

For today, I'm tackling the sound categories, beginning with Sound Editing:

EVEREST (Glenn Freemantle)
The ferocious sound design gives Mt. Everest a frightful voice of its own. Even in complete stillness, the dangerous creaking of ice and deafening howl of the wind keeps us mindful of the mountain's perils.


MAD MAX: FURY ROAD (Mark A. Mangini, Scott Hecker, David White)
One of the more remarkable achievements is how every vehicle is lent its own distinct personality aurally, and not just visually. You could identify them with your eyes closed! Plus, the ADR work is A++.


THE REVENANT (Randy Thom, Lon Bender, Martín Hernández)
As beautiful as the visuals are, its the extensive library of environmental sounds effects – animals, rivers, footsteps in half-melted snow – that truly bring the wilderness to life.


SICARIO (Tom Ozanich, Alan Robert Murray)
Every scene – whether quiet or loud – is dense with detail. From the off-screen gunfire of the tunnel raid to the tortuous squeak of Alejandro's 'Wet Willy'; All of it appropriately frightening.


SON OF SAUL (Tamás Zányi)
Many of the horrors of Aushwitz are experienced aurally for the viewer, constantly flowing in and out of earshot as Saul moves around; Deeply unsettling but artful work.


JUST missed:
The Hateful Eight (Wylie Stateman, Harry Cohen)
Star Wars: The Force Awakens (Matthew Wood, David Accord)

Other considerations:
Crimson Peak (Randy Thom, Dennis Leonard)
The Martian (Oliver Tarney)
A War (Morten Green)

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