Up next in our annual series is the race for Best Editing.
If there is one aspect of filmmaking that has changed more than any other in the past twenty-five or thirty years, it’s editing. Camera operators might now be using digital camera now, but it’s still a person with a camera recording moving images. Costume designers may use CAD programs to come up with their intricate creations, but it’s still a person with swaths of cloth and threads and scissors creating the final product. Production Designers still need paint and nails to make sets, no matter what tools they’ve used to create their designs. But editing in 2018 is a completely different beast than it was a generation ago. Outside of a couple holdouts, gone are the days of having miles of celluloid hanging from all parts of a room, assembled together piece by little piece until a much larger puzzle is formed.
But enough of my yapping, let’s get to the numbers…
1) If your film was also nominated for a BAFTA in the same category, you’ve won this award 25 or the 27 times the British Academy has aligned their awards to be in the same timeframe as the Academy Awards (92.6%). Advantage: Baby Driver, Dunkirk, The Shape of Water, Three Billboards Outside Ebbing Missouri
2) If your film is also nominated for Best Picture, you’ve won here 34 of the past 39 years (87.2%). Advantage: Dunkirk, The Shape of Water, Three Billboards Outside Ebbing Missouri
3) If your film is also nominated for Best Director, you’ve won here 31 of 39 (79.5%). Advantage: Dunkirk, The Shape of Water
4) If your work was not credited to two or more editors, you’ve won here 30 of 39 (76.9%). Advantage: Dunkirk, I Tonya, The Shape of Water, Three Billboards Outside Ebbing Missouri
5) If your work also won you an Eddie Award this year from the American Cinema Editors society, you’ve won here 28 of 39 (71.8%). Advantage: Dunkirk, I Tonya
6) If you are a first-time nominee in the Best Editing category, you’ve won here 21 of 39 (53.8%). Advantage: Baby Driver, I Tonya, The Shape of Water, Three Billboards Outside Ebbing Missouri
7) As long as your film was neither the highest grosser or the lowest grosser of the five nominees at the time of the nominations’ announcement, you’ve won here 21 of 39 (53.8%). Advantage: Baby Driver, The Shape of Water, Three Billboards Outside Ebbing Missouri
By the Numbers…
Dunkirk might not go home with Best Picture or Best Director, but it should not go home completely empty-handed.
Baby Driver (Paul Machliss and Jonathan Amos): +1, -2, -3, -4, -5, +6, +7 (100 of 261, 38.31%)
Dunkirk (Lee Smith): +1, +2, +3, +4, +5, -6, -7 (184 of 261, 70.50%)
I, Tonya (Tatiana S. Riegel): -1, -2, -3, +4, +5, +6, -7 (112 of 261, 42.91%)
The Shape of Water (Sidney Wolinsky): +1, +2, +3, +4, -5, +6, +7 (173 of 261, 66.28%)
Three Billboards Outside Ebbing, Missouri (Jon Gregory): +1, +2, -3, +4, -5, +6, +7 (150 of 261, 57.47%)
Thank you for taking the time to check us out.
All articles in this series:
Best Picture of the Year
Best Actor and Best Actress
Best Supporting Actor and Best Supporting Actress
Best Original Screenplay and Best Adapted Screenplay
Best Foreign Language Film
Best Animated Feature
Best Production Design
Best Makeup and Hairstyling
Best Costume Design
Best Sound Effects and Best Sound Mixing
Best Documentary Feature
Best Visual Effects