Voting for Sound: Helpful Tips from Industry Experts and MPSE President David Barber on the Invisible Art of Sound Design
If seeing is believing, then hearing is feeling. Yet, sound is one of the most challenging elements of filmmaking to assess during awards season. In 2021, the Academy addressed this complexity by merging the Sound Editing and Sound Mixing categories into a single Best Sound award. This change aimed to simplify the voting process for members outside the sound branch, who may find it difficult to differentiate between the technical distinctions.
Despite this consolidation, craft guilds continue to recognize these distinctions. The Cinema Audio Society honors excellence in sound mixing across various elements such as dialogue, music, and Foley, while the Motion Picture Sound Editors’ Golden Reels celebrate sound editing in sound effects, Foley, and music across multiple platforms, including film, television, and video games.
“I understand that there was a lot of difficulty when the categories were split for people to judge because they didn’t know the difference,” said David Barber, president of MPSE. “Sound is inherently invisible when it works.” Barber explained that effective dialogue editing leads viewers to believe the sounds heard were captured perfectly on set, even if a single line is created from multiple takes.
Barber compared sound in film to production design, noting that when executed well, it feels seamless. “A lot of people in the general public aren’t aware of how it’s primarily just dialogue captured on set,” he stated, adding that much of what audiences hear is added post-production. Beyond technical craftsmanship, sound also serves an emotional role. “Why are we hearing what we’re hearing?” Barber asked. “Sound can push and pull emotions in ways audiences may not consciously recognize, even if their bodies respond instinctively.”
Gwendolyn Yates Whittle, supervising sound editor for Avatar: Fire and Ash, emphasized the importance of clarity in dialogue. “Dialogue should be clear, and if anything stands out and pulls you out of the movie because it doesn’t match or the sync looks weird, that’s not a great mix or there’s some bad dialogue editing,” she explained. Clarity extends beyond lead performances; background dialogue and ambient sounds must remain consistent within the film’s context. “If you’re watching a corset movie and you hear an airplane, that’s not good,” Whittle added.
Al Nelson, supervising sound editor for F1 and Twisters, encourages audience immersion through sound. “If I listen to a scene, I should be able to tell you what’s happening,” he stated. However, he warned that constant noise does not equate to good sound design. “A well-crafted mix tells you what to pay attention to,” Nelson stated, adding that sound should draw the audience in rather than overwhelm them. He also suggested that voters consider how a film’s sound made them feel—whether they felt energized, engaged, or exhausted.
Historically, sound categories have been dominated by action films and musicals, with iconic entries including West Side Story, Apocalypse Now, and Jurassic Park. Each of these films crafted distinctive soundscapes that not only enhanced their narratives but also became part of pop culture. For instance, in Jaws, the sounds of the ocean, buoy, and score signal danger just as effectively as the shark itself.
How to Judge Sound
Dialogue
Whittle highlighted that dialogue serves as the foundation of sound in film. “If anything pulls you out of the movie because it doesn’t match, that’s a red flag,” she reiterated. Clarity in all aspects of sound design is essential.
Close Your Eyes
Nelson’s advice to close one’s eyes while listening to a scene can reveal critical information. “A good mix should be engaging,” he noted. “If sound is just filling gaps, it detracts from the viewing experience.”
Consider Innovation
Innovation often breaks conventions, as evidenced by Jonathan Glazer’s The Zone of Interest, which surprised many by winning at the 2024 Oscars over Oppenheimer. The film used sound rather than visuals to convey the horrors of Auschwitz juxtaposed against a Nazi commander’s family life. Johnnie Burn, the film’s re-recording mixer, remarked on how sound in the film presented a contrasting narrative that provoked questions from viewers.
Go to the Theater
Lisa Piñero, production sound mixer for The Lost Bus, emphasized the importance of experiencing sound in theaters, arguing that clarity and nuance are often lost in home viewing. “The best mix will always be a good theater,” she asserted.
Does it Serve the Story?
Piñero advised that sound should be compelling and integral to storytelling, underscoring that directors who prioritize sound create more immersive experiences. She stressed that sound often requires multiple viewings to fully appreciate its impact, positioning it uniquely among the categories.
Douglas Murray, supervising sound editor for Dawn of the Planet of the Apes and The Batman, agrees, noting that sound often takes time to fully digest. “It’s only natural,” he said. “I think sound takes a couple of viewings to really get a good grasp on the dynamics of things.”
As sound becomes increasingly significant in cinema, both in its technical execution and emotional resonance, understanding how to evaluate it is crucial for audiences and industry professionals alike.
