Oscar Chart Updates: Production Design and Film Editing
Saturday, December 26, 2020 at 10:45AM We've been discussing each Oscar chart this past week or so so let's finish up the visuals with Production Design and Film Editing.
PRODUCTION DESIGN
Beyond Mank, which features Oscar nominees Donald Graham Burt and Jan Pascale recreating Classic Hollywood this field remains something of an 'anything is possible' mystery. Best Picture heat often helps in the 'below-the-line' categories. But, even acknowledging that fact, many of the hottest Best Picture contenders like Ma Rainey's Black Bottom, One Night in Miami, Minari, and Nomadland, have by their very intimate story natures, not a lot of visible art direction happening. It's not that they aren't beautifully designed but you know how at the Oscars it's pretty standard that "MOST = BEST"...
Of those four Ma Rainey feels most likely since it also has two concert sequences to help vary up the look despite most of the film taking place in a recording studio.
And speaking of "most" the Production Design of The Personal History of David Copperfield is pretty out there and memorable. But are voters watching it?
Relic's haunted house
Shirley's Haunted House
Swallow's gilded pristine cage
In short, it's Mank's to lose and it's wildcards all over the place for the other nominations. In Daniel's always incisive column The Furniture he's illuminated production design choices in films like Ammonite, The Nest, First Cow, and Shirley... but they all feel "small" for Oscar's tastes in that category.
Other films with very interesting production design like Relic, Swallow, and The True History of the Kelly Gang are probably way too outré for voters. But we'll see.
Midnight Sky
Perhaps the Design branch will go with Tenet and Midnight Sky since they like Nolan films and astronaut films in this category. Mulan was pretty tepidly received all told but Grant Major is a four time nominee and previous winner so Mulan might have some luck here as Disney live-action remakes can sometimes score craft nods.
News of the World has everything Oscar normally loves in this category -- ambition, memorable sets, prestige feeling -- but reaction feels muted there too (thus far).
In other words we're feeling confident but not at all confident in our predictions at the same time.
FILM EDITING
Editing is a fascinating but "invisible" artform. Therefore it's not fascinating at all when it comes to the Oscar race each year which is a pity. Again and again it feels like the only thing that matters in this category is whether or not you have Best Picture heat and whether or not they feel enormous affection for your movie. Editing is so much more than that. It can escalate or diffusion tension, create beautiful rhythms or destroy the vibe. It helps shape performances and sharpens storytelling choices. It can make slow burn plots feel intense and lively if it's strong but busy movies feel dull if it's not careful. What film editing did you respond to this year?
CHECK OUT THE CHARTS AND REPORT BACK... Do you think we're close to the truth of the eventual nominations or way off?
Reader Comments (12)
Isn't Animation due to some Production Design and Cinematography recognition?
Soul's minimalistic and sometimes almost abstract Production Design is absolutely outstanding, isn't it? Should it matter that much, that it is all CGI?
I mean, one of the biggest achievements in Production Design, like, ever, was The LEGO Movie... was it snubbed because it wasn't made stop motion with real life bricks, but CGI scans of them? Were not the sets "built", anyways? Will Oscars - and Awards shows, in general - move on with times?
Agree so much about Best Editing. Can't believe that editors themselves pick the nominees, because they're always so uninspired.
This year I responded to the editing of the Assistant. Tight, sharp, tense, it helped the direction create a thriller where there wasn't one.
Off the topic, sorry... about another Oscar chart... Canada has changed their submission to "14 days, 12 nights" (Anne "Mommy" Dorval is in it!), since Funny boy was too much in english...
Ma Rainey looked so cheap. So of course it will sweep the tech nods.
@ Jesus Alonso. Totally agree with you specially the design categories, they are rewarding the design, not the manufacture of the materials. I could add to your options Trolls Worlds Tour because I prefer animated movies with fantasy elements in their production designs instead of recreate human architectures in fantastic ambients like Monsters Inc. or Zootopia
Here are the categories that an animated film could it be considered if movie awards wouldn't be so purist:
Motion Picture of the Year
Directing
Original Screenplay
Adapted Screenplay
Cinematography (in stop-motion movies)
Editing
Production Design (The omission of WALL-E is a crime)
Costume Design
Original Score
Original Song
Sound Mixing
Sound Editing
Visual Effects
Documentary Feature
Documentary Short Subject
International Feature Film
I don't think FIRST COW or some of the others are "too small" for a Production Design nom. I'm reminded of Jack Fisk's nominated work on THERE WILL BE BLOOD and THE REVENANT, largely outdoors films that create very tactile worlds in their nascency. I know those films were heavy hitters, but with the recognition FIRST COW has garnered so far, it could go a long way with Oscar.
FYI Nathaniel: the prediction page has been thrown into all sorts of chaos due to one TENET image...
Travis -- thank you for the heads up. fixed.
Jonathan -- yes, but those movies were gigantic productions with A list stars. I'm not saying that First Corw and these others aren't deserving. i'm just worried about oscar voters. like, what have they been watching? who knows!
I'm sick of hearing about Wank. I'd prefer those Hillbilly hoes to be honest.
Production design, I can only think of perfection aka "Emma".
César... this may shock you but CGI also uses lenses. The virtual cinematography, is a thing. Just - again - recheck that complete masterpiece that is The LEGO Movie, paying special attention to its cinematography and camera work
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