Best Sound Editing
- The Grey - For the discomforting grisliness of the bone-crunching, the unrelenting elemental dangers of the survivors' surroundings, and the gnarling viciousness of their predators.
- Life of Pi - For oodles of dreamy riches the sound team captured for the film's aquatic soundscape, and all of those ripely textured animal sounds.
- The Turin Horse - For the bellowing blusters of those sizably apocalyptic winds, and all of the quotidian details of the father and daughter's life.
- Wuthering Heights - For minimalist achievement in capturing agitated nature that perfectly and thematically serve this cinematic treatment to Bronte's work.
- Zero Dark Thirty - For confirming how horrible waterboarding sounds and the disquieting affect of the gunshots in the film's titular action sequence.
Best Sound Mixing
- Moonrise Kingdom - For shimmering with the same amount of dioramic detail Anderson puts into his sets with a summery, campfire-centric sonic palette.
- The Snowtown Murders - For tone-setting incorporation of its seedy score and brilliant evocation of space which the film uses to swelteringly oppresive effect. (Which is meant in the best possible since.)
- Tabu - For nailing its very bold narrative gambit, blending bewitching African soundscape and beautifully composed narration (in lieu of dialogue) that linger over the intimately stark images.
- The Turin Horse - For taking those aforementioned apocalyptic winds and quotidian details and keeping them in a tight, tonally agonizing grip.
- Wuthering Heights - For serving the film's elemental fascination with cold, dilated atmosphere, incorporating such bold strokes with rustic melodies of its heavy downpours and barren fields.
Honorable Mentions: (in alphabetical order) - The Avengers; Battleship; The Deep Blue Sea; Django Unchained; End of Watch; Life of Pi; Looper; Miss Bala; Skyfall; Zero Dark Thirty
No comments:
Post a Comment