In Contention

Tag: Bob Murawski

  • Interviews with the winners

    Geoffrey Fletcher at the 82nd annual Academy AwardsBefore we close the book on 2009, here’s one last rundown of our interviews with this year’s Oscar recipients.  It was lovely to meet with them all as this was truly, for the most part, a season of camaraderie.

    “The Cove”
    Louie Psihoyos (Best Documentary Feature)

    “Crazy Heart”
    Jeff Bridges (Best Actor)
    Ryan Bingham and T Bone Burnett (Best Original Song)

    “The Hurt Locker”
    Mark Boal (Best Picture, Best Original Screenplay)
    Chris Innis and Bob Murawski (Best Film Editing)
    Paul Ottosson (Best Sound Editing, Best Sound Mixing)

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  • Interviews with the nominees

    Jeff BridgesAs we head into the big weekend of this year’s hotly anticipated Academy Awards telecast, I thought I’d toss this list up once more, broken down by film. We’ve added to it a bit since the nominees were announced.

    And if you’d like to re-live the season so far, you can see how things have panned out at The Circuit.

    “Avatar”
    James Horner (Best Original Score)

    “Bright Star”
    Janet Patterson (Best Costume Design)

    “Coraline”
    Henry Selick (Best Animated Feature)

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  • ‘Hurt Locker,’ ‘Hangover’ win with ACE

    Jeremy Renner in The Hurt LockerFriday we spotlighted the film editing category in our daily Oscar Guide feature.  Tonight at the Beverly Hilton, the editors themselves had their say at the 60th annual ACE Eddies ceremony.

    Bob Murawski and Chris Innis were the big winners in the drama category for “The Hurt Locker” (my prediction for the Oscar win), while in something of a surprise, Debra Neil-Fisher won in the comedy category for “The Hangover,” toppling the Coen brothers’ “A Serious Man.” It makes you wonder just how close the Warner Bros. romp was to a Best Picture nomination with all of this industry love.

    Pixar and Kevin Nolting predictably won in the animated category for “Up,” while Geoffrey Richardson won in the documentary field for “The Cove,” a film that frankly deserved Oscar recognition in the category.

    As always, keep track of the season’s goings on at The Circuit.

  • OSCAR GUIDE: Best Film Editing

    Gabourey Sidibe in PreciousThe Best Film Editing category tends to be a shadow of the Best Picture category in some ways. With there being 10 Best Picture nominees this year, however, the field was bound to nail down five of the contenders. So considering the old stand-by stat (no film has won Best Picture without an editing nomination since “Ordinary People”), this is a race to keep an eye on.

    In fact, it might be a bellwether for the rest of the show when the envelope is opened. Which means the competition has been boiled down to the same to films the media is keeping an eye on for Best Picture. In this instance, however, that reduction isn’t as ill-considered.

    The nominees are:

    “Avatar” (Stephen Rivkin, John Refoua and James Cameron)
    “District 9”     (Julian Clarke)
    “The Hurt Locker” (Bob Murawski and Chris Innis)
    “Inglourious Basterds” (Sally Menke)
    “Precious” (Joe Klotz)

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  • TECH SUPPORT INTERVIEW: The crafts of ‘The Hurt Locker’

    Jeremy Renner in The Hurt LockerWhen it comes to extravagant Hollywood blockbusters, we’ve become accustomed to the phrase “the money is up on the screen” – delighting in the filmmakers’ own delight in the tools and tricks at their disposal.

    “The Hurt Locker,” however, invites a very different kind of wonder. An independent with a budget of a mere $11 million, it is nonetheless more kinetic action film than many a title coming in at 10 times the price, immersing the audience in the sights, sounds and sensations of Iraq combat. The money is on the screen, sure, but the screen belies the money.

    For this, the already multi-laurelled Kathryn Bigelow shares the credit with a highly resourceful and imaginative team of craftsmen, variously bringing mainstream studio-picture experience and indie-sector knowhow (or both) to the table.

    I talked to cinematographer Barry Ackroyd, editors Chris Innis and Bob Murawski, sound designer Paul Ottosson and special effects supervisor Richard Stutsman about their contributions to this humble spectacular.

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  • TECH SUPPORT: Best Film Editing — Volume II

    (from left) Daniel Day-Lewis and Marion Cotillard in NineAs I wrote in August, “Best Achievement in Film Editing” can be a difficult thing to define. Traditionally, we most notice film editing that is showy, usually in action films, musicals or movies that are not told chronologically. But does that make the editing better? If done well, it undoubtedly can add to the quality and innovation in a film.

    At the same time, however, a well-paced and effective film is often one where the transitions are seamless and I maintain that the best editing is often that which you don’t notice.  We will never know what “could have made it into the film,” which makes judging editing difficult at times. What is certain, however, is that in the absence of editors, our films would all be significantly too long, likely incoherent and/or tremendously boring.

    Personally speaking, I’m intrigued by this category this year. he editing field has historically displayed a strong correlation to the Best Picture line-up. Last year marked a return to a typical situation which we had seen from the mid-90s until early this decade: four of the five films nominated for Best Film Editing were also nominated for Best Picture, with the fifth being an action film. However, from 2005 through 2007, only two of the five nominees crossed over to the Best Picture category. This raises the question…what to expect this year?

    Some of the films I thought were contenders back in the summer have clearly fallen out of the running. Oscar winners Stephen Mirrione and Thelma Schoonmaker are now out the race as “Biutiful” and “Shutter Island” have been delayed until 2010. Allyson C. Johnson, on the other hand, is certainly not going to find herself nominated for “Amelia,” which is not getting near awards are far as anyone is concerned.

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  • TECH SUPPORT: Best Film Editing — Volume I

    (from left) Leonardo DiCaprio and Michelle Williams in Shutter IslandBest Achievement in Film Editing.  It’s a difficult phrase to define.  To a large extent, excellence in film editing can be editing which blends into the film, allowing the director’s vision, screenwriter’s story and actors’ performances to shine without interference.  But equally, a film that stands out as a showcase for flashy but motivated construction deserves recognition as well.

    What is certain, however, is that in the absence of editors, our films would all be more than three hours long, largely incoherent and/or tremendously boring.

    This category has historically displayed a strong correlation to the Best Picture line-up.  Last year marked a return to a typical situation – four of the five films nominated for Best Film Editing were also nominated for Best Picture, with the fifth being an action film.

    From 2005 through 2007, however, things were a bit shaken up with a two-to-five ratio.  At the end of the day, however, Best Picture contenders, thrillers and actions films always do quite well here.

    The other genre that frequently finds a home in this category is musicals.  Cutting dance numbers coherently and blending between dialogue and songs consistently clearly impresses this branch.  In light of this, I’d call “Nine”’s Claire Simpson the early favorite.  A past winner for “Platoon,” she returned to the game after a 19 year absence two years ago with “The Constant Gardener.”  Barring the film flopping, I’d say Simpson is good to go.

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