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The Conversation: 2015 Oscar Predix: Hair Cuts & 12 Year Cuts… Boyhood Will Grab Best Editing

The Nominations: Best Editing
“American Sniper” Joel Cox and Gary D. Roach
“Boyhood” Sandra Adair
“The Grand Budapest Hotel” Barney Pilling
“The Imitation Game” William Goldenberg
“Whiplash” Tom Cross

Shoulda Been a Contender: Douglas Crise and Stephen Mirrione for “Birdman

Strangely left out of this category (yet, again, American Sniper somehow bested that…) Birdman’s editing team of Douglas Crise and Stephen Mirrione state that their “editorial ego really has to be held at bay pulled off” to achieve Iñárritu’s conceptual stunt. Yet, another way to interrupt the non nomination is that the “one-take look” is indeed the most seamless edit of the 2014 year.

Should Win: Barney Pilling for “The Grand Budapest Hotel

Winner of ACE Eddie Awards’ in the Comedy or Musical category, Pilling is partially responsible for the magnificent pacing and filtering the performances of Anderson’s exquisite film. It would be great to see him take home the statue.

Could Win: Tom Cross “Whiplash

It’s one of the impressive technical merits/strengths found in Damien Chazelle’s sophomore film, Tom Cross could take the statue because he would also be a fitting choice due to the massive amount of shots used in the musical numbers.

Will Win: Sandra Adair “Boyhood

Prognosticators give the advantage to team Boyhood. Just the notion of calibrating and assembling twelve year’s worth of material and then shaving it down to a 164 minute cut means the odds are on Sandra Adair to likely snag her a win.

Los Angeles based Nicholas Bell is's Chief Film Critic and covers film festivals such as Sundance, Berlin, Cannes and TIFF. He is part of the critic groups on Rotten Tomatoes, The Los Angeles Film Critics Association (LAFCA), the Online Film Critics Society (OFCS) and GALECA. His top 3 for 2021: France (Bruno Dumont), Passing (Rebecca Hall) and Nightmare Alley (Guillermo Del Toro). He was a jury member at the 2019 Cleveland International Film Festival.

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