This year's field of Oscar nominees for sound editing is louder than every ... ever. And not everyone is happy about that. As ABC's Judy Muller reports, for the soft-spoken sound track, these are hard times.
In a simpler time, the Oscar for best sound went to films with (the sound of music). But now, "Noise, big explosions, loud traffic collisions, a big storm oftentimes helps. Or better yet, 'A Perfect Storm', one of the films nominated this year. Or how about a perfect spectacle, like 'Gladiator'. Other nominees include 'Cast Away', 'U-571', and 'The Patriot'.
In recent years, the Academy members, most of whom know nothing about the subtleties of sound editing, have rewarded sound that stands out. A trend that started in 1977. George Lucas' 'Star Wars' revolutionized cinematic sounds. Even sound editors who admire the artistry of 'Star Wars' are dismayed by what's happened since. "Unfortunately, the awards have typically gone to the big, brash, loud, bombastic, attention-getting sound jobs."
How loud? So loud that the noise levels in some theaters exceed 100 decibels, enough to impair hearing. So loud that some editors actually wear earplugs while they're working. And they are not happy about it. "It's really the producers, and directors who are standing behind the mixers, saying, 'We want it louder'. Because they are marketing to fourteen-old-year boys."
Meanwhile, subtle editing goes unrewarded, even though it is often the most challenging. Most people don't realize that in 'Cast Away', each sound had to be recreated in the studio. "I know exactly what they went through to make sound of the wind, each sound of the wave, the crash of the water against those rocks. I think that was really truly a work of artistry." But the odds are in favor of 'spectacular', not 'subtle'.