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This is a LOT of awards in one weekend, but we’ll persevere. Here are the guild awards that cover the sound categories, editing and writing for this year’s Oscars. Tripp was not able to submit predictions prior to publishing.

CINEMA AUDIO SOCIETY AWARDS

Best Sound Mixing – Live Action

The Hobbit: An Unexpected Journey
Les Misérables (Wesley / RU:Peter)
Lincoln
Skyfall (RU:Wesley)
Zero Dark Thirty (Peter)

Wesley Lovell: We’ll find out here whether Les Misérables has the ability to overtake Skyfall. These two films seem to be the Oscar frontrunners and I would imagine this award will come down to a battle between the two. I give the edge to Les Mis simply because it has so many strong elements to jostle together and with the added difficulty of capturing vocals sung live and having to filter out ambient noise while adding layers of sound effects may be the more impressive task to these voters, but one never knows for sure.

Best Sound Mixing – Animated

Brave (RU:Wesley / RU:Peter)
Frankenweenie
Dr. Seuss’ The Lorax
Rise of the Guardians
Wreck-It Ralph (Wesley / Peter)

Wesley Lovell: I’d be rather shocked if the aurally busy Wreck-It Ralph weren’t able to take this award. None of the other films have so many different types of sounds to mix together and create a unique soundscape versus a naturalistic one.

AMERICAN CINEMA EDITORS AWARDS

Best Drama Editing

Argo (Wesley / RU:Peter)
Life of Pi
Lincoln
Skyfall
Zero Dark Thirty (Peter / RU:Wesley)

Wesley Lovell: It seems like Argo is the film to beat with a number of editing prizes in recent weeks. If there’s a group that might go for something else, though, it’s the ACE.

Best Comedy / Musical Editing

The Best Exotic Marigold Hotel (RU:Peter)
Les Misérables (Wesley / Peter)
Moonrise Kingdom
Silver Linings Playbook (RU:Wesley)
Ted

Wesley Lovell: Dramas that compete in comedy have a leg up considering the need to build tension in ways many comedies don’t. However, the ACE might be more interested in a well-edited comedy rather than a well-edited musical, which might give the somewhat less dramatic Silver Linings Playbook the better opportunity.

Best Animation Editing

Brave (RU:Wesley / RU:Peter)
Frankenweenie
Rise of the Guardians
Wreck-It Ralph (Wesley / Peter)

Wesley Lovell: It’s hard to guess how the ACE will go here since these are all fairly standard editing works, so I give the edge to the film that seems like it’s edging towards a Best Animated Feature win.

Best Documentary Editing

Samsara (RU:Wesley)
Searching for Sugar Man (Wesley)
West of Memphis

Wesley Lovell: While Samsara must skillfully cut together music and action, Searching for Sugar Man also does this while creating a time-spanning work.

MOTION PICTURE SOUND EDITORS AWARDS

Best Sound Editing: Sound Effects and Foley in a Feature Film

Argo (RU:Peter)
The Avengers
The Dark Knight Rises
Django Unchained (RU:Wesley)
The Hobbit: An Unexpected Journey
Life of Pi (Peter)
Prometheus
Skyfall (Wesley)

Wesley Lovell: Oscar seems to be leaning towards Skyfall, so I imagine this group will go there as well, but I wouldn’t put it past them to sneak something else in.

Best Sound Editing: Dialogue and ADR in a Feature Film

Argo (Wesley / Peter)
Beasts of the Southern Wild
The Hobbit: An Unexpected Journey
Life of Pi
Lincoln
Moonrise Kingdom
Silver Linings Playbook
Skyfall (RU:Wesley / RU:Peter)

Wesley Lovell: It’s the only place with the MPSE that I can see Argo gaining any traction. Of course, I’m not certain it will win as I can’t always understand how they make their selections here.

Best Sound Editing: Sound Effects, Foley, Dialogue, ADR and Music in an Animation Feature Film

A Cat in Paris
Brave (RU:Peter)
Dr. Seuss’ The Lorax
Frankenweenie
ParaNorman (RU:Wesley)
The Pirates! Band of Misfits
Rise of the Guardians
Wreck-It Ralph (Wesley / Peter)

Wesley Lovell: The most interesting soundscape in any animated film this year was Wreck-It Ralph, where they had to create a number of new aural effects while trying to input existing notable video game sounds.

Best Sound Editing: Sound Effects, Foley, Dialogue, ADR and Music in a Feature Documentary

Bully
Climate Refugees
Jiro Dreams of Sushi
Marley (Wesley / RU:Peter)
Searching for Sugar Man (Peter / RU:Wesley)

Wesley Lovell: I give the edge to the sound editing for a true music documentary, not a documentary with a musical tinge.

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in a Feature Foreign Language Film

80 Million
Amour (Peter)
Children of Sarajevo (RU:Wesley)
Hypnotist
The Intouchables (RU:Peter)
Rust and Bone (Wesley)

Wesley Lovell: I have no idea where this group will go, but Amour just doesn’t seem like the kind of film that would win a sound editing award. I’ll give it to another film with strong dramatic appeal that has a decent amount of effects in it, though I’m leaning now towards a film that’s less familiar to audiences and more likely to feature award-winning effects.

Best Sound Editing: Music in a Feature Film

Argo (RU:Peter)
A Cabin in the Woods
The Dark Knight Rises
Django Unchained (Wesley)
The Hobbit: An Unexpected Journey
Life of Pi (Peter)
Lincoln
Skyfall (RU:Wesley)

Wesley Lovell: Of all of these films, Django Unchained seems like the one that makes th emost of its music editing.

Best Sound Editing: Music in a Musical Feature Film

Joyful Noise (RU:Peter)
Les Misérables (Wesley / Peter)
Pitch Perfect
Rock of Ages (RU:Wesley)

Wesley Lovell: The most successful musical of the year should win this award fairly easily.

WRITERS GUILD OF AMERICA AWARDS

Best Original Screenplay

Flight
Looper
The Master (RU:Peter)
Moonrise Kingdom (RU:Wesley)
Zero Dark Thirty (Wesley / Peter)

Wesley Lovell: Our last chance to find out how the Academy might lean. The problem is, the film that’s been winning the precursors, Django Unchained isn’t eligible here, so it will only give us an idea of who can compete against that film rather than who could be the winner.

Best Adapted Screenplay

Argo (RU:Wesley / RU:Peter)
Life of Pi
Lincoln (Wesley / Peter)
The Perks of Being a Wallflower
Silver Linings Playbook

Wesley Lovell: This should finally give us an idea of where the Oscar may finally go. Argo, Lincoln and Silver Linings Playbook are the films duking it out for the Oscar and any one of them winning this prize would bolster its chances at the Oscar. I want to say Argo, but I’m guessing if anyone goes for the more scholarly Lincoln, it’s this group who probably know and like Tony Kushner better overall than the relative neophyte Chris Terrio.

Best Documentary Screenplay

The Central Park Five (RU:Wesley / RU:Peter)
The Invisible War
Mea Maxima Culpa: Silence in the House of God
Searching for Sugar Man (Wesley / Peter)
We Are Legion: The Story of the Hactivists
West of Memphis

Wesley Lovell: You have to go with the best researched film in this category and Searching for Sugar Man probably has the edge, but The Central Park Five and West of Memphis can lay claim to more important socio-political elements. That might be enough to take this one in a different direction.

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