The film editing branch of the Academy used to offer up adventurous options like “Basic Instinct,” “Hoop Dreams,” “Speed,” “Crimson Tide,” “Seven,” “Air Force One” and “Out of Sight,” best picture prospects be damned. Not so much anymore. Every now and then we’ll get a “Girl with the Dragon Tattoo” here, a “United 93” there, but mostly — and perhaps even understandably, given the expanded top field of the last six seasons — this race has shifted to a place of mirroring the best picture category.
With that in mind, this year’s top contenders are sure to figure in as always. At the top of the list of anticipations is Alejandro G. Iñárritu’s “The Revenant,” cut by Oscar-winner Stephen Mirrione (“Traffic”). The film was shot in sequence, which is unique, particularly for a project of this scale and scope. The stitching technique employed on Iñárritu’s “Birdman” was brought into the equation as well.
With that in mind, this year’s top contenders are sure to figure in as always. At the top of the list of anticipations is Alejandro G. Iñárritu’s “The Revenant,” cut by Oscar-winner Stephen Mirrione (“Traffic”). The film was shot in sequence, which is unique, particularly for a project of this scale and scope. The stitching technique employed on Iñárritu’s “Birdman” was brought into the equation as well.
- 11/7/2015
- by Kristopher Tapley
- Variety - Film News
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