Oscarweb Round-up: Might the CLING and CLANG of ‘Steel’ register for sound?

A little below-the-line love in the round-up today as one of the stories linked is a sound profile of this weekend’s box office champ “Real Steel” from the always impressive and dedicated SoundWorks Collection. The sound categories are always a bit of a question mark until later in the season, which the branch begins to get a listen to the various films in play. It’s a tight-knit group that responds to great work within the field rather than pitching support behind Best Picture contenders for the sake of it.

Last year’s nod for “Salt” in the mixing field was largely unexpected and reminds that there is always the potential for spreading the wealth in these fields. This year I’ve been wondering about the work in “Real Steel,” where the rock ’em, sock ’em cling and clang of metal on metal could be showy and refined enough to draw a few ears from the branch. Perhaps. Anyway, let’s see what’s going on in the Oscarweb today…

On the sounds of “Real Steel” (which, by the way, could easily pop up in the Best Sound Editing category this year). [SoundWorks Collection]

Sasha Stone on likely Oscar nominees Meryl Streep and Glenn Close, queens of the 80s. [Awards Daily]

Actress Adepero Oduye talks “Pariah.” [Black Film]

Download seven minutes of Trent Reznor and Atticus Ross’ score for “The Girl with the Dragon Tattoo.” [Fincher Fanatic]

Mekado Murphy talks “Shame” and a stellar 2011 with Michael Fassbender. [Arts Beat]

Jeff Wells casually plants a flag for the actor in “Jane Eyre,” but surmises his Oscar chances for a great year are slim. [Hollywood Elsewhere]

Pete Hammond “exclusively” reports what we told you well over two weeks ago, that Werner Herzog’s “Into the Abyss” will open on November 11. He does get the producer on the record as to why, though. [Deadline]

Melissa Silverstein talks to “In Darkness” director Agnieszka Holland. [Women and Hollywood]

Is Clint Eastwood intent on outing J. Edgar Hoover? [The Independent]

Oliver Gettell on the critics split on “The Ides of March.” [24 Frames]