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November 2015

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Page 25 of 51 24 POST NOVEMBER 2015 Awards season has arrived — here's an early look at the year's top films MISSION: IMPOSSIBLE - ROGUE NATION - EDITING Eddie Hamilton cut the latest film in the Tom Cruise franchise, which was directed by Chris McQuarrie and brought in $195M. A combination of location footage and sets were seamlessly pieced together to create the "opera" scene that sets up much of the film. And then there are intense car and motorcycle chase scenes, along with the exhausting underwater chal- lenge that leaves the film's star on the verge of drowning. So did Hamilton have the MI theme music in mind while he was cutting the film on his Avid? "When I am cutting an action scene, I am always working silently," says Hamilton. "I am imaging the sound and music — and an occasional line of dialogue will be there, but generally, an action sequence is just sound effects and music." — MARC LOFTUS INSIDE OUT - ANIMATION When Disney Pixar's Inside Out opened at #2 at the box office, it was unlikely studio execs were worried. While it was the only Pixar film to not open at #1, it also broke a significant record as the highest grossing original, non-sequel property opening ever. True story! Original estimates for the film had it at around $60M, but it did enormously well, earning $91M, with a worldwide gross (at press time) of $842M. When you combine that with an imaginative and critically-praised storyline that takes viewers inside the mind of a 12-year-old girl — bringing to life her emotions Joy, Fear, Anger, Disgust and Sadness as char- acters — and the innovative animation techniques from Pixar, where characters are made up of small particles of energy, along with an all-star cast of voices (Amy Poehler, Bill Hader, Lewis Black and Mindy Kahling) and an Academy Award-winning director Pete Docter (Monsters, Inc. and Up), it would be hard to imagine this film not getting an Oscar nod. — LINDA ROMANELLO THE REVENANT - EDITING, DIRECTING, CINEMATOGRAPHY, SOUND EDITING, SOUND MIXING Perhaps too soon to tell, with the film's opening set for late this year, but there were some big challenges on this one — The Revenant was shot on-location in Calgary, Alberta Canada, entirely outside, using natural light and minimal dialogue, heavily relying on visuals to tell its story. It could be a director's, edi- tor's, cinematographer's, actor's (yeah, I threw that one in here), sound editor's and sound mixer's dream. The 20 th Century Fox film, directed by Oscar-winner Alejandro Gonzalez Inarritu (Birdman, Babel) and starring Leonardo DiCaprio and Tom Hardy, is inspired by true events, capturing the epic adventure of survival of legendary explorer Hugh Glass (DiCaprio) and his expedition of the uncharted American wilderness. According to Oscar-winning editor Stephen Mirrione (Traffic), the production and post teams were greatly at the mercy of the elements and simply went with whatever was thrown their way. Post's full interview with Mirrione is coming soon. — LINDA ROMANELLO O S C A R O U T LO O K O S C A R O U T LO O K

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