BEST SOUND EDITING IN FEATURE FILM – SOUND EFFECTS AND FOLEY
GRAVITY (WARNER BROS.)
- Directed by: Alfonso Cuarón
- Produced by: Alfonso Cuarón, David Heyman
Nominees:
- Supervising Sound Editor: Glenn Freemantle
- Sound Designer: Glenn Freemantle
- Foley Artist: Nicolas Becker
- Sound Design Editors: Niv Adiri, Ben Barker, Eilam Hoffman
- Sound Effects Editor: Danny Freemantle
- Foley Editor: Hugo Adams
BEST SOUND EDITING IN FEATURE FILM – DIALOGUE AND ADR
CAPTAIN PHILLIPS (COLUMBIA PICTURES)
- Directed by: Paul Greengrass
- Produced by: Scott Rudin, Michael De Luca
Nominees:
- Supervising Sound Editor: Oliver Tarney, MPSE
- Supervising Dialogue Editor: Bjørn Schroeder
- Supervising ADR Editor: Simon Chase
- Dialogue Editor: Rob Killick
BEST SOUND EDITING IN FEATURE FILM – MUSIC
THE GREAT GATSBY (WARNER BROS.)
- Directed by: Baz Luhrman
- Produced by: Catherine Knapman, Baz Luhrmann, Catherine Martin
Nominees:
- Supervising Music Editors: Jason Ruder, Tim Ryan
- Music Editor: Craig Beckett
BEST SOUND EDITING IN FEATURE FILM – MUSIC, MUSICAL FEATURE
FROZEN (BUENA VISTA)
- Directed by: Chris Buck, Jennifer Lee
- Produced by: Peter Del Vecho
Nominees:
- Music Editors: Earl Ghaffari, Fernand Bos, MPSE
BEST SOUND & MUSIC EDITING: FEATURE FILM – FOREIGN LANGUAGE
THE GRANDMASTER (THE WEINSTEIN COMPANY)
- Directed by: Wong Kar Wai
- Produced by: Wong Kar Wai, Jacky Pang Yee Wah
Nominees:
- Supervising Sound Editors: Robert Mackenzie, Traithep Wongpaiboon
- Sound Designers: Nopawat Likitwong, Steve Burgess
- Supervising Foley Editor: John Simpson
- Supervising Dialogue & ADR Editor: Gary Chen
- Foley Artists: Sam Rogers, Chumnan Chuponkrang
- Sound Effects Editors: James Ashton, Chris Goodes, Luke Mynot, Sam Petty,Narubett Peamyai, EkarattChungsanga
BEST SOUND & MUSIC EDITING: FEATURE FILM – FOREIGN LANGUAGE
THE PAST (SONY PICTURES CLASSICS)
- Directed by: Asghar Farhadi
- Produced by: Alexandre Mallet-Guy
Nominees:
- Supervising Sound Editor: Thomas Desjonqueres
- Supervising ADR Editor: Frédérique Liebaut
- Foley Artists: François Lepeuple
BEST SOUND & MUSIC EDITING: SOUND EFFECTS, FOLEY, DIALOGUE & ADR IN AN ANIMATION FEATURE FILM
EPIC (20TH CENTURY FOX )
- Directed by: Chris Wedge
- Produced by: Lori Forte, Jerry Davis
Nominees:
- Supervising Sound Editors: Gwendolyn Yates Whittle, MPSE, Randy Thom
- Sound Designers: Randy Thom, Jeremy Bowker
- Supervising Foley Editor: Luke Dunn Gielmuda
- Supervising Dialogue Editor: Brad Semenoff
- Foley Artists: Denise Thorpe, Jana Vance
- Foley Editors: Benny Burtt, Jim Likowski
- Dialogue Editor: Michael Silvers
- Sound Effects Editors: Leff Lefferts, Andre Fenley, Kyrsten Mate, Kent Sparling
- Music Editors: Lisa Jaime, Bill Abbott
BEST SOUND & MUSIC EDITING: DOCUMENTARIES – FEATURE FILM
DIRTY WARS (IFC)
- Directed by: Richard Rowley
- Produced by: Anthony Arnove, Brenda Conklin
Nominees:
- Supervising Sound Editor: Christopher Barnett
- Sound Designers: Christopher Barnett, Brandon Proctor
![2025 Oscars: Can a Late-Breaker Still Win Best Picture? [POLL]](https://www.awardsdaily.com/wp-content/uploads/2024/10/gladiator-350x250.jpg)
Zach & Bryce. Both of you took the words right outta my mouth. I’d love to see Captain Philips get honored. It’s such a well done movie (speaking from a technical stand-point). Imo the two sound categories should be between All is Lost, Lone Survivor and Philips.
Yeah, I’m thinking Captain Phillips wins Editing and at least one of the Sounds. The tech-heavy Best Picture nominee doesn’t have to sweep, especially if it isn’t winning Picture. Pi didn’t win either sound award last year, though it was up against noisier competition. Hugo won both but had more sound in it, and even weaker competition than Gravity has this year.
It’s a wide-open year for sound, I think.
It’s sad that Oscar season turns into a horse race for otherwise wonderful films. Split years and “spread the wealth” years just end up disappointing for every film, except a Gatsby or Geisha type, or Phillips with its underdog status now without Director or Hanks nods.
Carlos,
Agreed. Things are not looking pretty for GRAVITY after yesterday’s BAFTA ridicule/debacle. It could conceivably be shut out, but I still think it’s winning two Oscars. The consensus will be in a few days that Cinematography and Visual Effects are sufficient recognition for this most “gorgeous” film.
Seriously wondering if Captain Philips can win sound editing over Gravity, considering i think it will get the editing oscar.
I think I’m inclined to agree with the Sound Editors this year, the sound work in GRAVITY is next level.
Aside from the fact that I thought there was no sound in space, I agree with Ian. There were plenty of films more complex, sound-wise, that could be rewarded this year.
Not Gravity-bashing, just sayin’.
Hear hear, Paddy.
Eiter Captain Phillips or Gravity is sweeping the sound awards and taking film editing with it. I can’t put my finger on which one yet.
I’ll comment. Why does Gravity HAVE to win every single technical award out there this year? Yes Gravity is a wonderful technical achievement and amazing to look at and the sound is amazing. The overall sound mixing is very good. But sound effects editing? Honestly, the movie did not utilize sound effects the way a normal film would. There wasn’t that many sound effects because they made the artistic decision to forego sound effects in the emptiness of space in favor of using Steven Price’s exceptional score as the primary soundtrack for the film and the effects driven sequences. What should be getting more recognition for sound effects editing is Lone Survivor, a film where the use of sound effects DEFINE the experience of the movie. Every gun shot, every tumble down a hill. It is the sound effects in that film that create the realism and the stress that movie goers undertake when they watch it. It is the sound effects editing that makes the movie feel like you are actually in a legitimate war zone with these guys, experiencing what they are experiencing. Just my two cents.
Ehhhhhhh why has no-one commented on this post yet? Once again, proof that sound editing is the unwanted child of the industry come awards time. Little do people know that they’d barely have an industry without it.