![]() ![]() ![]() and Austyn Daines, “Gran Turismo” (Sony)Ĭlaire Simpson and Sam Restivo, “Napoleon” (Apple/Columbia)Īffonso Gonçalves, “May December” (Netflix)ĭan Laustsen, “John Wick: Chapter 4” (Lionsgate) Julie Monroe, “The Bikeriders” (20th Century)Ĭolby Parker Jr. Michael McCusker, Andrew Buckland, and Dirk Westervelt, “Indiana Jones and the Dial of Destiny” (Walt Disney) Victoria Boydell, “Saltburn” (Metro-Goldwyn-Mayer)Įddie Hamilton, “Mission: Impossible - Dead Reckoning Part One” (Paramount) Michael Andrews, “Spider-Man: Across the Spider-Verse” (Sony) Thelma Schoonmaker, “Killers of the Flower Moon” (Apple/Paramount) Jon Poll, “The Color Purple” (Warner Bros.) Yorgos Mavropsaridis, “Poor Things” ” (Searchlight) Please note: To read full descriptions of each film, check out our 2024 Oscars Best Picture predictions. Since then, the only other Best Picture champ to also win Best Film Editing was “Argo” in 2012. Indeed, 35 films have won both awards, including last year’s double dipper “Everything Everywhere All at Once.” That last win comes with a caveat as the reintroduction of the preferential ballot for Best Picture in 2009 has changed the dynamic. Historically, a nomination for film editing was an essential one for the ultimate winner of the big prize. And they like films that expertly inter-cut music with images, such as “Cabaret” (1973), “Chicago” (2003), “Whiplash” (2015), “Bohemian Rhapsody” (2019) and 2021 winner “Sound of Metal.” Special effects extravaganzas like “The Lord of the Rings: The Return of the King” (2004) and “Gravity” (2014) won by deftly blurring the lines between the real and the fantastic. Oscar voters also embrace film editors who skillfully juggle multiple storylines, as was the case with “Traffic” (2001) and “Crash” (2006). ![]()
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