The plight of sound mixer Kevin O’Connell has become surprisingly well known. With the arguable exception of composers, crafts artists are rarely featured in the mainstream media. O’Connell’s 20 Academy Award nominations make him one of the most unlikely prolific individuals in the Academy’s history. His zero wins give him the dubious distinction of having the most accumulated nominations without a win. His longtime partner Greg P. Russell has shared 12 of those nominations with him, giving the duo a total of 32 tips of the hat without a win. But that is something that could very well change this year with a cult-TV-classic-turned-blockbuster-cinema-sensation.

I spoke with O’Connell last week to get his take on media exposure, the elusiveness of Oscar and, of course, the work.

O’Connell acknowledges this year has been a little different than every other year, saying that he’s actually nervous and hasn’t been nervous for a long time. “I don’t really see any clear frontrunner,” he says. “Maybe that’s why I’m nervous. I think we have a shot.”

That said, O’Connell is quick to say that all the films nominated this year are more than worthy of such acclaim. “This is a close community and I’m very close to all the nominees; I’m happy for anyone or everyone if they win,” he says. “I really do believe that everything happens for a reason.” The notion caters to the present as much as to the past:

“I haven’t won in the past but I haven’t begrudgingly lost. I believe films that won were worthy.”

O’Connell truly loved working on “Transformers” and says that he thinks the film is demonstrative of one of the secrets to his success – that he’s been surrounded by talented people his whole career.

“This was totally a team effort,” he says, crediting the recordings of production sound mixer Peter Devlin, on the very loud set, the foley team of John Roesch, Alison Moore and Mary Jo Lang and especially sound editors Ethan Van der Ryan and Mike Hopkins.

O’Connell says the main challenge to him on “Transformers” was trying to tell the story through use of sound without it becoming a “train wreck” but rather creating a voice for the film. He cites the personal challenges of trying to make robots sound “robotty” enough while also still capturing the sincerity of their dialogue. He says he worked extensively with sound editor Mike Hopkins on that issue.

O’Connell has worked on every film Michael Bay has directed and says he’s “seen him mature into one of the finest filmmakers that I’ve worked with," admitting that "I realize I sound like an 80-year old man saying this.” In all seriousness, however, O’Connell explains that Bay does not bark orders to his crew but figures out what is best for the movie.

O’Connell is well known for mixing large action films but does admit to some desire to diversify the sorts of films he works on. “I love the action films but they are taxing on you and a lot of hours are put in." He says that he particularly finds suspense, thriller, horror and comedy movies to be fun.

In spite of this, I was surprised how quickly O’Connell was able to pick out a favorite film from his repertoire: Tony Scott’s “Top Gun.”

“I was only 27 when I mixed it and Tony Scott was taking a chance on me,” he recalls. “To make the jet sounds today would be a lot easier,” he explains, “but the lack of automation back then made it a huge challenge and due to a combination of working with Don Mitchell and Rick Kline, not to mention great sound editors, we ended up being able to be very proud of how it came out.”

When I mention that he’s probably the most known sound mixer in the eyes of the general population, O’Connell gives a groan but says he understands why there’s usually an anonymity to his work.

“I think it’s there in most of the crafts because people don’t quite understand what goes into creating the soundtrack,” he says. He also says he does not think the movie-going public understands crafts like art direction, cinematography or film editing either. He says there are many individuals who get no attention whatsoever for what he considers invaluable work. Dan Sharp springs to his mind quickly, the recordist and mix technician at the Cary Grant Theatre on the Sony lot, with whom O’Connell has worked for his last 10-12 nominations.

“He arrives an hour or two before me and Greg [P. Russell] and would stay an hour or two after us,” he says. “That I have been given a large audience because of these nominations sheds more light on what we do. If I had to lose 19 times to bring that to light, I’m fine with that. I’m not at the point where I’m frustrated. I’m the front man for a team of very talented people.”

“Transformers” was O’Connell’s last collaboration with Greg P. Russell after a working relationship of nearly two decades, and a partnership of over a dozen years. The two decided it was time to move on earlier last year. He recalls the partnership.

“Greg and I have been as close as any two people can possibly be. I’ve probably spent more time with him over the past twelve years than any other person in my life.”

So what would a win be like at this point in his career?

“Generally, in the past, whenever I don’t hear my name, the first thing I feel is relief,” he says. “Perhaps because I don’t want to stand up in front of those people and talk!” He concedes that the pursuit of the little golden trophy is something he has thought about but adds that he and Russell have joked that they are “clappers, not walkers.”

“It would be nice to not clap this year,” he admits, “and there’s no one I’d rather see take that walk with me than Greg Russell, with Peter Devlin alongside us.”

It would be premature to say that the duo is destined to finally become walkers this year. But I’d nevertheless venture to say they have their best shot in a very long time, perhaps ever.