I knew from the moment that I first saw “Inside Llewyn Davis” that the cinematography was extraordinary. With a faded quality that transports you to that era, yet a brilliance in color and lighting, these visuals help the film stand out and give it an ethereal quality that made it one of my favorite films of the year. Usually garnering more Academy love, The Coen Brothers bring this film to the screen along with Bruno Delbonnel, instead of their go-to cinematographer Roger Deakins, who is also nominated this year. With a lack of nominations this year, it’s a shame that “Inside Llewyn Davis” will not be bringing home more awards (or any, for that matter). But over every other amazing film this year, it was honored as one of the five best in cinematography this year, and for that I am thankful. However, this award likely belongs to Emmanuel Lubezki for “Gravity”. This marks Bruno Delbonnel’s fourth nomination, with previous nominations coming from his work on “Amelie” (2003), “A Very Long Engagement” (2004), and “Harry Potter and the Half-Blood Prince” (2009).
Skip Lievsay, Greg Orloff and Peter F. Kurland
Last year’s Best Sound Mixing award went to the musical film of “Les Miserables” as the actors and actresses singing were recorded on the stage during the shoot and the audio was mixed that way, as opposed to recording in a studio and dubbing/ADR-ing the voices later. The former is the more difficult way of doing it, with outside noises a factor, as well as no smoothing or toning filters on set. Although I am not entirely sure “Inside Llewyn Davis” did it this way, the singing appears so natural and sounds like it is coming from the actors while filming, that I would be surprised to find out otherwise, and even more impressed in the seamless mixing of the studio recorded music into the film, to create such a realistic experience. With most of the film consisting of the different actors singing their songs, with the entire soundtrack contained in the run-time of the film, if there’s one film that can unseat “Gravity” for Best Sound Mixing, it is The Coen Brothers’ “Inside Llewyn Davis”, to which I will be wholly on board and appreciative. All three of the men nominated have worked with the Coen Brothers previously and were all nominated for their work on “No Country For Old Men” (2007) and “True Grit” (2010). Greg Orloff won an Oscar from his first nomination for his work on “Ray” (2004).
// Produced by Scott Rudin, Joel and Ethan Coen // Directed by Joel and Ethan Coen //
// Dated Viewed: Monday, February 17th, 2014 // Laemmle Playhouse 7 // 10 films – 14 days //