Word: braveheart
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...THERE WERE DEBATES about the quality of feature films in this year's Academy Award race. Really now, can anyone but Mel Gibson and Pat Buchanan have thought Braveheart the very best movie of 1995? But on one matter, few of the cognoscenti would argue. The freshest, most beguiling film to win an Oscar last week was an epic you may have never heard of: A Close Shave, Nick Park's stop-motion, comedy-thriller mini-masterpiece about a dog named Gromit and his pet Englishman, Wallace...
...ANGELES: "Braveheart" was the big winner at this year's Academy Awards with five Oscars, including Best Picture and Best Director. The movie was Mel Gibson's second behind the camera, after "The Man Without a Face" in 1993. "Like most directors, what I really want to do is act," Gibson joked at the podium. He was not the only actor to be recognized for other talents: Emma Thompson won an Oscar for her adaptation of Jane Austen's novel "Sense and Sensibility." Says TIME's Joelle Attinger: "This is a recognition of the growing cross-fertilization of roles people...
...finalists for the editing Oscar this year, each illustrates an interesting facet of the craft: the integration of special effects and character development of Apollo 13, the mix of animals and robot beasts in Babe, the bloody briskness of the battle sequences in Braveheart, the claustrophobic submarine struggle in Crimson Tide and the jolting impact of Seven. Character study, animal film, martial epic, macho debating, upscale splatter--all genres sizzle or sink depending on the editor's skill...
...films nominated in this category are typically action films, which helped get Crimson Tide and Seven their nods, though they were not cited for Best Picture. It is also why this year's nod to Babe wins cheers even from a rival, Braveheart's Steven Rosenblum: "Groups like the Academy often don't recognize how well edited these quiet pictures are." Seven's Richard Francis-Bruce adds that the contemplative Il Postino deserved a mention for its deft matching of shots, within the same scene, of the ailing Massimo Troisi and his body double who appears in about half...
...where he should go, since the editor must also be a storyteller with scissors. Mel Gibson, director and star of Braveheart, praises editor Rosenblum for his "story sense," which allowed them to cut entire chunks without losing the flow. One cut: a long sequence in which the hero catches wind of a British ambush planned to take place at his wife's grave. Gibson has a graphic metaphor for experienced editors: "They're like great surgeons, able to make the right kind of adjustments in places that most of us wouldn't look for. They get into that room with...