2018 Oscar Predictions: Best Sound Editing
“Sound editing” is a term not widely understood by the general public. Basically, it is the creation of sounds for a film. The noise of a blaster or a tie fighter in a Star Wars film? That’s sound editing. The explosions of bombs in war films? That’s sound editing.
For those reasons, Dunkirk, Star Wars: The Last Jedi and Blade Runner 2049 all have extremely good chances for nominations. Dunkirk can essentially call itself a lock. The Last Jedi might have some difficulty, as a portion of the sound editing is regurgitation of the franchise’s established sounds, but the film does a lot with its sound, so it’s safe. Blade Runner 2049 is too.
The Shape of Water is an interesting contender, as it’s sound editing is a lot more subtle than the other films. But it could be strong enough, as the film is adored in all regards.
Another interesting contender is Baby Driver. The movie is heavy on its music, meaning it’s absolutely more of a sound mixing contender, but it does feature plenty of gunfire and car engine noises, so it could find love in both categories.
If either of those last two fall off, look to War for the Planet of the Apes as a possible replacement due to the ape noises, as well as due to the massive climactic battle with guns and bombs.
Wonder Woman will be getting a serious push, especially in technical areas where it can definitely shine, and with the elements of World War I in the film, it could also work its way in.
Richard King, Alex Gibson — Dunkirk
Mark A. Mangini, Theo Green — Blade Runner 2049
Ren Klyce, Matthew Wood — Star Wars: The Last Jedi
Julian Slater — Baby Driver
Nathan Robitaille — The Shape of Water
James Mather — Wonder Woman
Will Files — War for the Planet of the Apes
Paul N.J. Ottosson — Detroit
Justin Doyle — Coco
Ethan Van der Ryn, Joel Erickson — Transformers: The Last Knight
Featured image via Warner Bros.