Let’s get this out of the way: Great films tell stories with sound, but you’d never know it for the kind of credit accorded to the mixers and editors who create it. While cinematographers like “Roger” and “Chivo” have become rock-star mononymous with their images that people can see, aural peers like Gary Rydstrom, Ai-Ling Lee, Julian Slater, Skip Lievsay and Ren Klyce lack the same kind of recognition — even as their work plays a role that’s as great, if not greater.
So when the Academy Governors chose to reduce the number of Oscars awarded for sound by 50 percent, to one — combining Best Sound Editing and Mixing into a single category, Best Sound — that looks like yet another slight to the craft. However, the change was inevitable: The delineation itself didn’t recognize the way modern-day films create sound.
That’s not to suggest sound mixing and editing are the same thing.
So when the Academy Governors chose to reduce the number of Oscars awarded for sound by 50 percent, to one — combining Best Sound Editing and Mixing into a single category, Best Sound — that looks like yet another slight to the craft. However, the change was inevitable: The delineation itself didn’t recognize the way modern-day films create sound.
That’s not to suggest sound mixing and editing are the same thing.
- 4/29/2020
- by Chris O'Falt
- Indiewire
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