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Voting for nominations will take place from January 11-16, 2024, and the official Oscar nominations will be announced on January 23, 2024. Final voting will be February 22-27, 2024. And finally, the 96th Oscar telecast will air on on Sunday, March 10, and on air. live on ABC at 8 pm ET/ 5 pm PT. We update the predictions throughout awards season, so check IndieWire for all the Oscar picks for 2024.
State of the Race
“Oppenheimer”, the explosive choice for the sound Oscar, received the biggest boost from The Motion Picture Sound Editors and The Cinema Audio Society guilds. Christopher Nolan’s historical thriller about the “father of the atomic bomb” was awarded all three nominations by the MPSE: ADR, Effects/Foley, and Music Editing, while CAS sound mixers nominated “Oppenheimer” for its top Motion Pictures – Live Action prize. The 71st MPSE Golden Reel Awards will be held on March 3 at the Wilshire Ebell Theater in Los Angeles, and the 60th CAS Awards will be held on March 2 at the Beverly Hilton.
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“Oppenheimer“ is one of 10 films shortlisted for the Oscars for Best Sound, ahead of the announcement of nominations on 23 January. Among the other shortlisted contestants, “Barbie“ (ADR, Music Editing) “Maestro“ (ADR, Music Editing), and “Napoleon” (ADR, Effects/Foley) two MPSE names, and “Ferrari“ (Effects/Foley), “The Killer“ (Effects/Foley), “Killers of the Flower Moons“ (ADR) and “The Interest Zone” (foreign language) one.
For the CAS, the other names are “Barbie,” “Ferrari,” “Killers of the Flower Moons,” and “Maestro.”
For “Oppenheimer” (Universal) Nolan once again tapped his supervising sound editor/sound designer Richard King (“Dunkirk,” “Inception,” “The Dark Knight,” “Master and Commander: Into the West” ) the sound design. lead extensive. This included the Trinity test explosion, which sounded like the slamming of a cosmic door as well as the sub-atomic particles and waves and a cosmic black hole, all manipulated by natural sound effects. The team also included Oscar-winning music and sound effects mixer Kevin O’Connell (“Hacksaw Ridge”) and dialogue mixer Gary Rizzo (“Dunkirk,” “Inception”).
Greta Gerwig’s billion-dollar blockbuster “Barbie” (Warner Bros.) achieved a unique artificial sound for the plastic Barbie Land, led by supervising sound editor/re-recording mixer Ai-Ling Lee (“First Man,” “La. La Land”), sound designer/supervising sound editor Dan Kenyon, and O’Connell. Voice sounds, toys and musical instruments were used to create a sense of simulated reality. Sonically, it was like a classic Disney animation combined with a ’50s Hollywood musical.
In “Maestro” (Netflix), Bradley Cooper tapped King’s supervising sound designer/sound editor and Oscar-nominated production sound mixer Steve Morrow (who worked with him on creating the live Dolby Atmos mix for “A Star Is Born” ) to create a soundtrack for this complicated love story between the legendary conductor/composer Leonard Bernstein (Cooper) and his actress wife Felicia Montealegre (Carey Mulligan), which spanned more than four decades (the first half in black , and the second half in color. ). It’s about the sound of Bernstein’s musical orbit, and the challenge was to make it live as if we were in the middle of the orchestra or among the people at a party. It’s an immersive experience unmatched on stage, and the Dolby Atmos is powerful. Bernstein’s soulful conducting of “Symphony No. 2 (“Resurrection”) Gustav Mahler at Ely Cathedral in London.
In David Fincher’s passion project, “The Killer” (Netflix), based on the graphic novel by Alex Nolent, patient and meticulous assassin Michael Fassbender is caught making a rare mistake and then has to step out of his comfort zone to clean up the mess. Ren Klyce (including “Fight Club”) takes us inside the mind of the Killer in six chapters that take place in Paris, Dominican Republic, Paris, Dominican Republic, New Orleans, Florida, nine-time sound designer Oscar-nominated. New York, and Chicago. Each of them has their own distinctive soundscape on this journey from nihilism to care that makes particular use of a vocal mantra, their personal playing mix (The Smiths), a score by Atticus Ross and Trent Reznor on the upper and lower registers, and the immersive sound mix is like sticking a mic to the camera so you can hear everything around it.
Jonathan Glazer’s “The Zone of Interest” (A24), the epic Holocaust drama about the banality of evil, features an appropriately disturbing soundscape from sound designer/re-recording mixer Johnnie Burn. Loosely based on the Martin Amis novel, it explores the real life of Auschwitz superintendent Rudolf Höss (Christian Friedel) and his wife (Sandra Hüller), an enthusiastic gardener, as they try to build a dream life with their family in the surrounding countryside. the camp. Burn (who carefully researched Auschwitz) treated it like a horror film soundtrack, piping sound into our ears to paint pictures in our heads and it was the most violent film he ever worked on. The result was a contrast in nature and the mechanical environment, with the sounds of horrors and screams inside the camp pointing to it.
In “Mission: Impossible – Dead Reckoning Part One” (Crucial), from producer-star Tom Cruise and director Christopher McQuarrie, there was a closer audio approach for Ethan Hunt’s (Cruise) high-octane adventure to defeat the global AI threat. prevent Led by supervising sound editor James Mather and re-recording mixers Chris Burdon and Mark Taylor (Oscar winners for “Top Gun: Maverick”), highlights include the brutal Venice alley fight between Hunt and Game Pom Klementieff A French assassin, Paris, a wild car chase in Rome, where Ethan and Grace (Haley Atwell) face off against a giant Hummer in a tiny Fiat, and the kitchen scene during the final train wreck, when the Orient Express crashes on a broken bridge. one carriage at a time. All sounds were isolated and experienced.
“Killers of the Flower Moon” by Martin Scorsese (Apple TV+/Paramount), about the systematic murders of members of the Osage tribe in Oklahoma during the 1920s after oil was discovered on their land, captures the Native culture. This is part of the soundscape’s strategy of contrasting beauty and evil, led by Oscar-winning supervising sound editor Philip Stocktock (“Hugo”), Oscar-winning production sound mixer Mark Ulano (“Titanic”), and an Oscar-winning re-recording. mixer Tom Fleishman (“Hugo”). Throughout the world there is tribal music, especially a repetitive drum beat that builds tension, as well as traditional dance and spoken language, and the soundscape had to get the tone right and in proportion.
For the Michael Mann biopic “Ferrari” (Neon), with Adam Driver, the sound team of sound designer/re-recording mixer Tony Lamberti, sound designer Bernard Weiser, Oscar-winning sound mixer Lee Orloff, and Oscar-winning re-recording mixer. Andy Nelson recreated the car sounds of the 50’s Ferrari and their unique sounds, from the induction to the transmission to the exhaust. They got actual Italian cars to re-record the sounds of the engines and took the sound of the cars on racetracks in the middle of nowhere in the UK to eliminate any environmental sounds.
Ridley Scott’s “Napoleon” (Apple TV+/Sony Pictures) navigates Napoleon Bonaparte’s (Joaquin Phoenix) rapid rise to power from military leader to Emperor, fueled by his obsessive love for his wife, Empress Joséphine (Vanessa Kirby) . The emphasis is on the soundscape, led by sound designers/supervising sound editors Oliver Tarney and James Harrison (“No Time to Die”), production sound mixer Stephane Bucher (“The Last Duel” Oscar nominee), and Massey and William Miller’s (Oscar-nominated “News of the World”) recording remixer, featuring the six legendary battles (each with distinctive geometric designs).
“The Creator” Gareth Edwards (20th Century/Disney), the sci-fi actioner about a war between humanity and AI, features a thrilling soundscape of gunfire, explosions, robotics, and Southeast Asian atmosphere, directed by supervising sound editors . Oscar-nominated Erik Aadahl (“A Quiet Place”) and Oscar-winning Ethan Van Der Ryn (“King Kong” and “The Lord of the Rings: The Two Towers”).
Initial views
“Barbie”
“Ferrari”
“Maestro”
“Oppenheimer”
“Area of Interest”
Competitors
“The Creator”
“The Killer”
“Killers of the Flower Moon”
“Mission: Impossible – Dead Reckoning Part One”
“Napoleon”
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