FORD V FERRARI
Peter Chernin | Jenno Topping | James Mangold
Visionary auto designer Carroll Shelby and race car driver Ken Miles team up to build a high-performance race car for the Ford Motor Company, hoping to defy the odds and defeat the dominant Ferrari at the 1966 Le Mans.
UNLIKELY
As of right now, I have “Ford v Ferrari” winning two, possibly three, out of the four awards it’s nominated for. Yet, somehow, the experts place it dead last for the films in the Best Picture category. Other films, like “The Irishman” and “Little Women” I have winning zero awards and yet those are somehow ahead of “Ford v Ferrari.” That being said, there’s no way “Ford v Ferrari” wins Best Picture. The Big Three are currently “1917,” “Once Upon A Time In Hollywoood,” and “Parasite.”
Peter Chernin | Jenno Topping
| 2016 (89th) | Best Picture | “Hidden Figures” | NOMINEE |
James Mangold
| 2017 (90th) | Best Adapted Screenplay | “Logan” | NOMINEE |
Michael McCusker | Andrew Buckland
FRONT-RUNNER
Looking across the Film Editing nominees, none of them stand out more than “Ford v Ferrari.” The pacing of this film and the way they create tension is miles above any of the other nominees. And the experts agree, placing it as the front-runner in the category. That seems like a pretty big win for a film that’s being touted as the last place choice for Best Picture. It’s biggest competition might be “Parasite” because of the love that is being anticipated for that film.
Michael McCusker
| 2005 (78th) | Best Film Editing | “Walk The Line” | NOMINEE |
Andrew Buckland
| NONE |
Donald Sylvester
POSSIBLE
Right now, “1917” is the front-runner in both the sound categories. That being said, “Ford v Ferrari” is a close second in my opinion, and I even have a feeling that it will have its name on one of these sound awards, if not both. “Ford v Ferrari” relies more heavily on its sound design and much more often, whereas “1917,” at pivotal moments in the film relies on it, but not in the way or extent that “Ford v Ferrari” does.
Donald Sylvester
| NONE |
Paul Massey | David Giammarco | Steven A. Morrow
POSSIBLE
Of the two sound categories “Ford v Ferrari” is nominated in, I believe it has a better chance of winning Sound Mixing, if it does in fact only have a chance of winning one. That being said, “1917” is the front-runner and the love for that film could easily overshadow “Ford v Ferrari,” especially with where it lands in the Best Picture race.
Paul Massey
| 1994 (67th) | Best Sound | “Legends of the Fall” | NOMINEE |
| 1997 (70th) | Best Sound | “Air Force One” | NOMINEE |
| 2003 (76th) | Best Sound Mixing | “Master and Commander: The Far Side of the World” | NOMINEE |
| 2005 (78th) | Best Sound Mixing | “Walk The Line” | NOMINEE |
| 2006 (79th) | Best Sound Mixing | “Pirates of the Caribbean: Dead Man’s Chest” | NOMINEE |
| 2007 (80th) | Best Sound Mixing | “3:10 To Yuma” | NOMINEE |
| 2015 (88th) | Best Sound Mixing | “The Martian” | NOMINEE |
| 2018 (91st) | Best Sound Mixing | “Bohemian Rhapsody” | WON |
David Giammarco
| 2007 (80th) | Best Sound Mixing | “3:10 To Yuma” | NOMINEE |
| 2011 (84th) | Best Sound Mixing | “Moneyball” | NOMINEE |
Steven A. Morrow
| NONE |
RELEASE DATE
November 15, 2019
DIRECTOR
James Mangold
SCREENPLAY
Jez Butterworth
John-Henry Butterworth
Jason Keller
STUDIO
20th Century Fox
PG-13
(for some language and peril)
ACTION
BIOGRAPHY
DRAMA
SPORT
152 minutes
OSCARS CHALLENGE
Viewed on February 3, 2020
Streamed on MacBook Pro
FILMS LEFT
13
DAYS LEFT
7
