Cannes Film Festival 2013

'Hanna,' 'Pirates of the Caribbean' among Cinema Audio Society surprises, 'Transformers' snubbed

'War Horse' gets ignored by yet another guild

<p>Saoirse Ronan in "Hanna"</p>

Saoirse Ronan in "Hanna"

Credit: Focus Features

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And now, as they say, for something completely different.

The guild nominations these last few weeks have been rank and file, the usual mish-mash of the same titles reflecting a bit of group think and perfunctory nominations. That ends today, though, as the Cinema Audio Society's crop of selections for excellence in sound mixing includes some eyebrow-raising, refreshingly singular choices.

First and foremost, "Transformers: Dark of the Moon" was snubbed, and I'm shocked by that. The sound mixers carried the franchise's last two films to nominations with both the CAS and the sound branch of the Academy, but stopped things dead in their tracks today by ignoring the year's best work in the field. Will it still be able to grab a mention from the smaller group within AMPAS? Maybe, but this is a blow.

In its place, actioner "Pirates of the Caribbean: On Stranger Tides" filled out the summer blockbuster spot, along with the expected inclusion of "Super 8." But the real surprise is "Hanna" turning up, completely out of left field.

The Joe Wright film has received a little bit of love this season for star Saoirse Ronan, but mostly for The Chemical Brothers' unique score. The music's implementation in the movie is very much a part of its drive and effect, so this is a nice notice for it. It was one of the early screeners to go out, but nevertheless, it's a brave change of pace for the Society. And how fitting it is, with all that in mind, that this year scoring mixers have been included in the list of CAS nominees for the first time ever.

Also a bit unexpected, but not entirely shocking, is the inclusion of "Moneyball," a meat-and-potatoes movie if there ever was one this season. I don't think it will turn the trick with Oscar, but it certainly could. Nevertheless, I'd consider it and "Hanna" to be at the bottom of the pile here.

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"Hugo" was the only serious Best Picture contender named, keeping its guild and society showing strong. It's a likely Oscar nominee, too, and I'd chalk "Pirates" and "Super 8" up alongside it. The "Pirates" franchise has twice been nominated for Best Sound Mixing and each time with a CAS nod to go along with it.

Elsewhere, Steven Spielberg's "War Horse" suffered yet another precursor set-back as the work from his trusted team of mixers did not register with the Society. That marks misses with the DGA, WGA, ADG, SAG and CAS, with only PGA and ACE nods to show for itself from the industry awards so far. It did, however, get a Best Sound nod from BAFTA and was also chalked up by the sound chapter there in the longlists, which is why, for now, I'm keeping it in my predictions. I'm also banking on "Transformers" finding its way there, too.

"The Artist" popped up in the Best Sound category with BAFTA, though it wasn't a choice from the chapter. Nevertheless, it could ride a lot of goodwill to a "surprise" nomination like this. It seems like a nod that could happen and then we all go, "Of course."

Other BAFTA nominees included "Harry Potter and the Deathly Hallows: Part 2" and "Tinker, Tailor, Soldier, Spy." Each was also selected by the chapter.

My fingers are crossed that CAS voters just didn't get around to "Mission: Impossible - Ghost Protocol" in time, and that it and "Rango" might still find some play.

You can follow the race at the Best Sound Mixing category's Contenders page.

Once again, the 2011 Cinema Audio Society nominees are:

"Hanna" (Roland Winke, Christopher Scarabosio, Craig Berkey, Andrew Dudman)

"Hugo" (John Midgley, Tom Fleischman, Simon Rhodes)

"Moneyball" (Ed Novick, Deb Adair, Ron Bochar, David Giammarco, Brad Haenel)

"Pirates of the Caribbean: On Stranger Tides" (Lee Orloff, Paul Massey, Christopher Boyes, Alan Meyerson)

"Super 8" (Mark Ulano, Andy Nelson, Anna Behlmer, Dan Wallin)

The 48th annual Cinema Audio Society Awards will take place on Saturday, February 18 at the Millennium Biltmore Hotel in downtown Los Angeles. As previously announced, director Rob Marshall will receive the organization's Filmmaker Award. Meanwhile, Scott Millan will receive the CAS Career Achievement Award.

Remember to keep track of the ups and downs of the 2011-2012 film awards season via The Circuit.

For year-round entertainment news and awards season commentary follow @kristapley on Twitter.

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Kristopher Tapley
Editor-at-Large
Kristopher Tapley has covered the film awards landscape for over a decade. He founded In Contention in 2005. His work has also appeared in The New York Times, The Times of London and Variety. He begs you not to take any of this too seriously.
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  • Pic_talkback_profile

    forg

    Very deserving for Hanna!

    January 19, 2012 at 9:47AM EST Reply to Comment
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    JJ1

    2 things:

    1)I swear I predicted 'Hanna'; if only because upon re-watching it, I thought the sound was excellent, and that if it were to get attention anywhere (other than score - highly unlikely), it could be here. I'm literally shocked to see it, though. haha

    2) I am now more convinced that there is some sort of below-the-line (or more) thing against 'War Horse'. I thought the sound was masterful (dialogue, horse noises, Williams' score, the war scenes). I thought they were all blended beautifully. So yeah, do I really think there's something going on with 'WH' behind the scenes? Prob not. But it wouldn't shock me, either. It just doesn't seem to make sense to me. This film is AMPAS-friendly, and it's received good-to-very good reviews from many a topic critic.

    I mean, how many lesser buzzed, lesser quality films have gotten in with CAS and Oscars?

    I love seeing Hanna and Super 8 in there, but the WH miss makes me shake my head.

    January 19, 2012 at 10:02AM EST Reply to Comment
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    Sean Knight

    I know this has nothing to do with your post, but I needed somewhere to vent and where better than my favorite awards website? Is it just me or is Sasha Stone becoming openly hostile towards her readers who think anything different from her. She is either incapable or unwilling to have any sort of debate, which is fine considering it's her website and all. But my god the level of snark coming from her is almost unbearable. Just today she pretty much calls one of her readers stupid for suggesting it unfair to compare The Artist and King's Speech box office at this point considering their release pattern. And lets not forget how ugly she gets anytime someone goes against girl with the dragon tattoo. or when she invited readers to submit their top 10 of the year and then went about dismissing them as "the internet lists" as if they were inferior to her own simply because Drive was in many a top spot. I know some snark can happen here, but it all seems in good fun and Kris you give just as good as you take so it all works out in the end. But Sasha Stone seems malicious and I've about given up on her awards site. She seems pretty out of touch with the awards race and reality for that matter to begin with.

    January 19, 2012 at 11:02AM EST Reply to Comment
    • Tumblr_linbqgiznz1qz9qooo1_r1_500_talkback_profile

      Dooby I pretty much agree with this. The bias on that site towards the films she champions...
      I mean, I know Kris doesn't even like Hanna but look how neutral and fair he is towards it in his write-up?

      January 19, 2012 at 2:42PM EST
    • Guypic_talkback_profile

      Guy Lodge I understand it's difficult, but you really ought to direct your concerns to Sasha. She's a colleague, and I'd rather we didn't become a go-to point for criticisms of her -- though we greatly appreciate your readership and your kind words!

      January 20, 2012 at 7:32AM EST
  • Default-avatar

    Tom C

    Listening to Hanna on a 5.1 or better system is like having God in your living room. I am so happy it made the cut and I'm praying that it makes it in with Oscar.

    January 19, 2012 at 11:03AM EST Reply to Comment
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      Liz "Listening to Hanna on a 5.1 or better system is like having God in your living room."

      This is an awesome line.

      And yes, Hanna completely deserves to be here and on the Oscar list.

      January 19, 2012 at 1:29PM EST
  • Default-avatar_talkback_profile

    Graysmith

    Moneyball, huh? I only watched it fairly recently, and still I can't remember the sound as being anything but perfectly fine and serviceable.

    Anyway, odd bunch of nominees, but that's certainly much more fun than what one might've expected to show up here. Very thrilled Super 8 got in, hopefully it can grab a few Oscar nominations for sound.

    January 19, 2012 at 11:32AM EST Reply to Comment
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      John I agree. I thought the sound in Moneyball was fine, but I didn't think it would show up on the CAS list. The only part I really remember is when it goes completely silent when he hits the home run - I liked that.

      January 19, 2012 at 4:13PM EST
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    Matt

    I have a very hard time believing this will be the Academy slate.

    Heck, I see Drive or The Tree of Life over Moneyball and Pirates 4.

    Right now I'm going with:

    War Horse
    Girl with the Dragon Tattoo
    Super 8
    Harry Potter 7.2
    Rise of the Apes
    Alt: Hugo

    January 19, 2012 at 11:32AM EST Reply to Comment
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    Tom C

    @Matt

    For the record, as crazy as these nominations may seem, the CAS is always fairly accurate. At least accurate enough to the point that predicting a 1/5 matchup is naive at best.

    In the last ten years, the guild/oscar matchup for sound mixing has been 5/5 once, 4/5 five times, and 3/5 four times, and in its 18 year history, only once has it gone 2/5.

    As far as what kinds of movies the two groups agree and argue over, it's tough to say. Neither has a strict penchant for picking Best Picturish type movies. The CAS picked "Black Swan," "Babel" and "Crash," while the Academy snubbed each. Meanwhile, the CAS did not give mentions to "The King's Speech," "Inglourious Basterds," and "Curious Case of Benjamin Button" when the Oscars did.

    Ergo, it's very difficult to predict which of these films, if any, will fail to make it to Oscar's shortlist. However, the CAS is not one to be counted out.

    January 19, 2012 at 1:04PM EST Reply to Comment
    • Krispic3_talkback_profile

      Kristopher Tapley There are a lot of TV people in the group and it's a weird year. I think 3/5 is likely, but maybe Hanna or Moneyball makes it after all.

      January 19, 2012 at 6:10PM EST
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    Dan

    "First and foremost, 'Transformers: Dark of the Moon' was snubbed, and I'm shocked by that. The sound mixers carried the franchise's last two films to nominations with both the CAS and the sound branch of the Academy, but stopped things dead in their tracks today by ignoring the year's best work in the field."

    I mean, I kinda trust the sound guild's opinion on whether or not it was better than the nominees.

    Besides, at some point, the work of creating the sound of metal-hitting-metal is done and you just re-use previous material from the franchise, no?

    Either way, this gives someone else a chance.

    January 19, 2012 at 1:53PM EST Reply to Comment
    • Krispic3_talkback_profile

      Kristopher Tapley "I mean, I kinda trust the sound guild's opinion on whether or not it was better than the nominees."

      This is a very naive comment, but in any case, it's franchise fatigue. I still think the sound branch will speak up for it, and if not, again, it says nothing about the work done by the sound mixers and everything about the reaction to the film on the whole.

      "Besides, at some point, the work of creating the sound of metal-hitting-metal is done and you just re-use previous material from the franchise, no?"

      This is an UNBELIEVABLY ill-informed comment. What you are actually critiquing is sound editing, not sound mixing, and while you may be able to reuse sounds from a library for the former, you cannot cut and paste work on the latter because every mix is unique.

      January 19, 2012 at 6:13PM EST
    • Default-avatar

      Dan Pardon me. My comment was not meant as a slight to you so please don't be rude.

      What I meant was that judging "the best of the year" in Sound Mixing requires much more knowledge of what the job entails than it would for judging other, less technical categories like Best Picture or Best Actor, for instance.

      And indeed, I do know the difference between sound mixing and sound editing. I just mistakenly thought that it was for a combination of both arts. Again- pardon me for my "UNBELIEVABLY ill-informed comment."

      January 19, 2012 at 10:25PM EST
  • Hal_9000_talkback_profile

    DylanS

    Love the mention for "Hanna" as the sound work from the film is extremely deserving, I actually think it gets in, but only with Mixing, not editing, like "Salt" last year.

    The spoiler to look out for in this field, IMO, is Ren Klyce's work on "The Girl With the Dragon Tattoo". He's gotten in both of the last two times Fincher had a BP nominee, and he did get CAS recognition for "Benjamin Button", but still netted an oscar nom. And when you think about it, "Dragon Tattoo" is a more showy and atmospheric design than the other two, so if the film is the BP contender I think it is, he very well might get in again.

    January 19, 2012 at 2:17PM EST Reply to Comment
  • Benskyfall_talkback_profile

    San FranCinema

    I watched "Moneyball" for the first time last night, and the audio elements absolutely stood out all the way through:

    • the collage of sports broadcasting that moves the exposition forward artfully and economically

    • the effects chosen to sweeten particular scenes, like when Pitt's character talks to the veteran slugger in the batting cage, and every one of the guy's hits is created entirely through sound (takes a minute to realize that the impact of bat-meeting-ball is not on camera)

    • uses of silence to convey the interior space of Pitt's character

    Bennett Miller was smart to bring on Ed Novick (sound on Inception, The Dark Knight, etc.), who turned a story about baseball & statistics into something full of surprising layers and effects.

    January 19, 2012 at 2:41PM EST Reply to Comment
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      SFXs FYI Ed Novick is a production sound mixed and doesn't have much to do with layers and SFX. He's doing a terrific job in his field though.

      January 19, 2012 at 4:48PM EST
    • Krispic3_talkback_profile

      Kristopher Tapley Yes, production sound mixing is a completely different thing than post-production sound mixing (aka re-recording).

      January 19, 2012 at 6:14PM EST
  • Tumblr_linbqgiznz1qz9qooo1_r1_500_talkback_profile

    Dooby

    Brilliant news for Hanna - I know focus were really pushing for this along with score and actress for Ronan in their FYC ads and I'm glad to see it pay off for such a deserving film.
    The craft in Hanna is immaculate in its execution and how it melds together. I'm glad it got recognised in at least one branch.

    Just wandering is their a Society for Cinema scores?

    January 19, 2012 at 2:46PM EST Reply to Comment
    • Tumblr_linbqgiznz1qz9qooo1_r1_500_talkback_profile

      Dooby *there

      January 19, 2012 at 2:46PM EST
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    Sawyer

    I don't see Harry Potter missing out on both of these categories. The sound work in both movies was best in show for the franchise, and it's the voters' last chance.

    January 19, 2012 at 2:56PM EST Reply to Comment
    • Krispic3_talkback_profile

      Kristopher Tapley It's also their last chance to ignore it the franchise. I know I would leap at that opportunity.

      January 19, 2012 at 6:15PM EST
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    thekingbulletin

    I actually think the sound mixing in "Moneyball" is brilliant, and that it is absolutely worthy here. Especially with respect to the flashback sequences, the way that Mychael Danna's score, the radio/broadcast commentary, and even in-scene dialogue is mixed is not only clear, concise, and understandable -- it also preaches to the weightiness of Beane's character arc. I would LOVE to see it get an Oscar nod.

    January 19, 2012 at 6:17PM EST Reply to Comment
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    finalmix

    Not at all surprised about the Hanna nod and also about the non-nod of other efforts. Hanna was simple but very creative and collaborative between the crafts. The way it should be to communicate the directors vision. It is not just about fx mixing, but rather the overall perception and both Moneyball, and Hanna hit that mark in mixing. Pirates was a very good job also.

    January 19, 2012 at 7:30PM EST Reply to Comment
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    JLPatt

    Uh, can't believe I'm the first to mention this, but... "The Adventures of Tintin" anyone? Where the heck is it? Or do you think it'll be more of a Sound Editing play?

    January 19, 2012 at 7:34PM EST Reply to Comment
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    Paul Outlaw

    If the Oscar nominations are 4/5 and replace Pirates with Dragon Tattoo, Tinker Tailor or even The Artist, I might actually get excited about this category this year.

    January 19, 2012 at 7:45PM EST Reply to Comment

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