AWARDS ORIGINALS
BEST SOUND EDITING, SOUND MIXING
Gravity uses sound in a way no other film ever has. The man to thank for that is Glenn Freemantle, who has one Oscar nomination under his belt, for 2009’s
Slumdog Millionaire, and will most assuredly get another one this year for his work in the Alfonso Cuarón film.
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Burge has been in the film industry for close to three decades and worked in the sound department on dozens of projects. He hooked up with Peter Jackson in the mid-‘90s and has worked with him on the
Lord of the Rings trilogy,
King Kong,
Lovely Bones, and now on a pair of
Hobbit films. With his work as supervising sound editor on
Desolation of Smaug, he hopes to garner his first Oscar nomination.
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Richard Hymns may not be a household name, but the likes of Steven Spielberg, David Fincher, James Cameron, and Robert Redford all regularly turn to him to oversee the sound work on their films. Hymns has won a trio of Oscars, but it was a special relationship with Redford that led Hymns to getting one of the most unique and exciting jobs he’s ever had, on J.C. Chandor’s
All Is Lost.
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If you aren’t sure what the difference is between sound mixing and sound editing, you’re not alone. Even some directors “who’ve done incredible work without the structure of a studio release” don’t understand the process, says Academy of Motion Picture Arts and Sciences Sound Branch Governor Curt Behlmer. But despite the confusion, mixing and editing are two distinct skill sets.
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