समाचार

I have not yet even looked at Sound Editing and Mixing contenders when it comes to my Oscar predictions, but I have a feeling in the next week or so I will have predictions up for the majority of the remaining categories that are currently left to be explored. Perhaps the work down by supervising Sound Editor Lon Bender and Sound Mixer Robert Eber for Drive will be included in those categories, though I think the more likely contenders will be films like Transformers: Dark of the Moon, Super 8, Rise of the Planet of the Apes and War Horse, but you never know. There's also Harry Potter and the Deathly Hallows: Part 2 to consider, the work done in Real Steel was quite good even though I didn't really like the movie and I'll be paying attention once I see Spielberg's The Adventures of Tintin once I finally see that.

It’s impossible not to be impressed by the folks at the SoundWorks Collection. Time and time again, they find great projects to feature and highlight one of the most atmospherically impactful elements of modern film: sound. In a time when we’re talking Oscar for a unique film without sound (The Artist), it’s also important to continue to celebrate the incredible work that goes into engulfing us with audible stimuli. In this particular instance, they feature Supervising Sound Editor Lon Bender’s work on the throbbing world of Nicolas Winding Refn’s Drive. Combined with the incredible Clint Martinez (which Allison featured as part of Aural Fixation a few weeks back). Through this behind the scenes featurette, you get a look at what it took to move back and forth between the moments driven by score and the moments driven without score, a perfectly balanced effort. Watch the featurette for yourself below: Drive sound credits:...