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Mad Max: Fury Road and The Revenant Tie for Top Awards at MPSE Golden Reel Awards

February 29, 2016 | By
Frank Morrone (left) and Tom McCarthy.

Frank Morrone (left) and Tom McCarthy.

The 63rd Golden Reel Awards had a surprising finish when the voting for the final and most prestigious award of the night – best sound editing: feature English language FX/Foley – resulted in a unusual tie between Mad Max: Fury Road and The Revenant. There was also a tie for best sound editing & music: direct to video live action with sound crews from both All the Wilderness and 7 Minutes taking home trophies.

The annual celebration of the art of sound editing on Feb. 27 brought the Motion Picture Sound Editors (MPSE) out to a black-tie ceremony at the Bonaventure Hotel in downtown Los Angeles. Sound editors are usually heard, not seen, but the Golden Reel Awards were an opportunity to take to the spotlight and be recognized for audio excellence in 24 categories encompassing feature films, long-form and short-form television, animation, documentaries and other media.

In his opening address, outgoing president Frank Morrone revealed that this past year, sound was created for more than 400 television shows, 250 feature and 600 video games, a mammoth undertaking. He stated, “Tonight we honor not only nominees and winners, but the whole sound editing community, the men and women who work tirelessly to create the sonic landscapes we hear in cinemas, our home theaters, our tablets and our ear buds.” In accepting the reigns of the organization, new president Tom McCarthy committed to “innovation, diversification and growth.”

Sam Raimi

Sam Raimi

The annual MPSE filmmaker award was presented to director Sam Raimi by re-recording mixer Marti Humphrey and sound designer/supervising sound editor Jussi Tegelman. Raimi helmed the first three films of the Spiderman franchise and is currently executive producing the television series Ash vs Evil Dead.

Raimi shared his early experiences making silent Super-8 films and his discovery of the importance of sound. “It was a great learning experience working in silent cinema, but I remember the first time that we made a sound film,” said Raimi. “The fact is, when you can add music to carry the emotion, a sound effect for that punch, or in a car chase scene the sound of the squealing breaks, the marriage of sound and picture just explodes the power of the images on film. The marriage of the two takes it not just to twice the level, but 10 times the level of effectiveness that it was as a silent piece.”

From left: Doug Hemphill, Richard King and Lee Smith

From left: Doug Hemphill, Richard King and Lee Smith

Picture editor Lee Smith and re-recording mixer Doug Hemphill presented the career achievement award to supervising sound editor and sound designer Richard King. In a video homage, director Peter Weir commented, “Richard works with sound like a composer works with music,” while director Christopher Nolan credited King with “finding the emotional texture of the film.”

King had wanted to be a picture editor when he lived in New York, but he always enjoyed the sound part of the process as much or more than the picture editing. When he came out to California he decided he wanted to work with sound in a company that was making a lot of movies, which provided many opportunities. King had studied painting and saw an analogy between the two art forms, noting, “It’s a layering of textures to create an image.”

The winners of the 63rd Motion Picture Sound Editors (MPSE) Golden Reel Awards are:

Best Sound Editing: Feature English Language FX/Foley (TIE)

Mad Max – Fury Road
Supervising Sound Editors: Mark Mangini, MPSE, Scott Hecker, MPSE, Wayne Pashley, MPSE
Supervising Foley Editor: Stuart Morton
Sound Designers: David White, Julian Slater
Foley Artists: John Simpson, Blair Slater
Sound Effects Editors: Fabian Sanjurjo, Cate Cahill, Chris Aud, Chuck Michael, Rick Lisle, Andrew Miller, Emma Mitchell, Alicia Slusarski, Mario Gabrielli, Nigel Christensen, Phil Barrie, Michael Mitchell, Jared Dwyer

The Revenant
Supervising Sound Editors: Martín Hernández, Randy Thom, MPSE, Lon Bender, MPSE
Sound Designer: Jon Title
Foley Supervisor: Geordy Sincavage
Additional Supervising Sound Editor: Todd Toon, MPSE
Sound Effects Editors: Mark Larry, Dino Dimuro, Adam Kopald, Pernell L. Salinas, Bill Dean, D. Chris Smith, MPSE, Hector Gika, David Mcmoyler, Stephen Robinson
Foley Editor: Nancy Maccleod, Ryan Wassil, Aran Tanchum
Foley Artists: Katy Rose, Gretc

Best Sound Editing: Feature English Language Dialogue/ADR

Bridge Of Spies
Supervising Sound Editors: Richard Hymns, Gary Rydstrom
Supervising Dialogue Editor: Brian Chumney
Supervising ADR Editor: Steve Slanec

Best Sound Editing: Feature Film Music In A Musical

Love & Mercy
Music Editor: Nicholas Renbeck

Best Sound Editing: Feature Film Music Score

Star Wars: The Force Awakens
Supervising Music Editor: Ramiro Belgardt
Music Editor: Paul Apelgren

Best Sound Editing & Music: Feature Film Foreign Language

Son Of Saul
Supervising Sound Editor: Tamas Zanyi,
Supervising Dialogue Editor: Tamas Zanyi
Supervising Foley Editor: Tamas Zanyi
Sound Designer: Tamas Zanyi,
Foley Artists: Tamas Beke, Tamas Zanyi
Sound Effects Editors: Tamas Zanyi, Tamas Szekely
Music Editor: Tamas Zanyi

Best Sound Editing & Music: Documentary Feature Film

Kurt Cobain: Montage of Heck
Supervising Sound Editor: Cameron Frankley
Sound Effects Editor: Dan Kenyon
Music Editor: Jon Michaels

Best Sound Editing & Music: Animation Feature Film

Inside Out
Supervising Sound Editors: Shannon Mills, Ren Klyce
Supervising Dialogue Editor: Daniel Laurie
Supervising Music Editor: Stephen M. Davis
Sound Designer: Ren Klyce
Foley Artists: John Roesch, Alyson Dee Moore
Sound Effects Editors: David C Hughes, Malcolm Fife, Jeremy Bowker
Foley Editor: Tom Brennan

Best Sound Editing: TV Long Form FX/Foley

Texas Rising: Night 4 Vengence Is Mine
Supervising Sound Editors: John Laing, Thomas Bjelic
Supervising Foley Editor: Steve Baine
Sound Designer: Thomas Bjelic
Foley Artist: Simon Meilleur
Sound Effects Editors: Tyler Witham, Mike Mancuso, Adam Stein

Best Sound Editing: TV Long Form Dialogue/ADR

Bessie
Supervising Sound Editor: Damian Volpe
Supervising Dialogue/ADR Editor: Tony Martinez
Dialogue/ADR Editors: Mary Ellen Porto, Brian Bowles

Best Sound Editing: TV Long Form Musical

Teen Beach 2
Supervising Music Editor: Amber Funk
Music Editor: Sharyn Gersh

Best Sound Editing: TV Long Form Music

Saints & Strangers: Night 2
Supervising Music Editor: Del Spiva
Music Editor: Nicholas Fitzgerald

Best Sound Editing: TV Short Form FX/Foley

Game Of Thrones: Hardhome
Supervising Sound Editor: Tim Kimmel
Sound Designer: Paula Fairfield
Supervising Foley Editor: Brett Voss
Foley Artists: Jeffrey Wilhoit, Dylan Wilhoit
Sound Effects Editor: Bradley Katona
Foley Editor: John Matter

Best Sound Editing: TV Short Form Dialogue/ADR

Game Of Thrones: Hardhome
Supervising Sound Editor: Tim Kimmel
Supervising Dialogue Editor: Paul Bercovitch
Supervising ADR Editor: Tim Hands

Best Sound Editing: TV Short Form Musical

Empire: Die But Once
Music Editor: Joshua Winget

Best Sound Editing: TV Short Form Music

House Of Cards: Chapter 33
Supervising Music Editor: Jonathon Stevens
Music Editor: Marie Ebbing

Best Sound Editing & Music: TV Documentary Long Form

The Spymasters: CIA in the Crosshairs
Supervising Sound Editors: Jason Schmidt, Mead Stone
Sound Designer: Gary Winter

Best Sound Editing & Music: TV Documentary Short Form

India’s Daughter
Supervising Sound Editors: Resul Pookutty, MPSE, Amrit Pritam
Supervising Dialogue Editor: Resul Pookutty, MPSE
Supervising Foley Editor: Vijaykumar Mahadevayah
Sound Designers: Resul Pookutty, MPSE, Amrit Pritam
Foley Artists: Karnail Singh, Sajjan Choudhary
Sound Effects Editors: Vijaykumar Mahadevaya, Sampath Alwar
Dialogue/ ADR Editor: Sampat Alwar
Music Editor: Krsna Solo

Best Sound Editing & Music: TV Animation

Teenage Mutant Ninja Turtles: Annihilation Earth
Supervising Sound Editor: Jeff Shiffman,MPSE
Supervising Dialogue Editor: Elliot Herman
Supervising Foley Editor: Roger Pallan
Foley Artists: Alex Ullrich
Sound Effects Editors: Jeff Shiffman, MPSE, Jessey Drake,MPSE
Dialogue/ ADR Editor: Anna Adams

Best Sound Editing & Music: Special Venue

Journey To Space
Supervising Sound Editor: Brian Eimer
Supervising Dialogue Editor: Josh Vamos
Sound Designer: Brian Eimer
Sound Effects Editor: Michael Bonini
Music Editors: Max Braverman, Keith Munson

Best Sound Editing & Music: Direct To Video Live Action (TIED)

All the Wilderness
Supervising Sound Editors: Steven Avila, MPSE, Trip Brock
Supervising Dialogue Editor: Ian Shedd
Supervising ADR Editor: Ben Whitver
Foley Artists: Sanaa Cannella, Matthew Salib
Sound Effects Editors: Alexander Pugh,MPSE, Rickley Dumm, MPSE
Dialogue/ ADR Editor: Jackie Johnson
Foley Editors: Terry Boyd, Jr., Matthew Salib
Music Editor: Kenny Woods

7 Minutes
Supervising Sound Editor: Trip Brock
Supervising Dialogue Editor: Ian Shedd
Supervising ADR Editor: Ben Whitver
Sound Designer: Steven Avila, MPASE
Foley Artists: Terry Boyd, Jr., Matthew Salib
Sound Effects Editors: Raymond Park, Alexander Pugh, MPSE
Dialogue/ADR Editor: Ben Whitver
Foley Editors: Matthew Salib, Terry Boyd, Jr.

Best Sound Editing & Music: Direct To Video Animation

Tinkerbell and the Legend of the Neverbeast
Supervising Sound Editor: Todd Toon, MPSE
Supervising Dialogue Editor: Thomas Whiting
Supervising Music Editor: Charles Martin Inouye
Sound Designers: Todd Toon, MPSE, Martyn Zub, MPSE
Foley Artists: John Roesch, Shelley Roden
Sound Effects Editors: Martyn Zub, MPSE, Adam Kopald, MPSE, Charles W. Ritter, Charlie Campagna, Pernell L. Salinas
Music Editor: Jim Harrison, Dominick Certo, Tommy Holmes

Best Sound Editing & Music: Game Cinematics

Halo 5
Supervising Sound Editors: Bryan Watkins, Mitchell Osias
Supervising Dialogue Editor: Christopher Cody Flick
Supervising Foley Editor: Goeun Lee
Audio Director: Sotaro Tojima
Supervising Music Editor: Kazuma Jinnouchi
Sound Designers: Kyle Fraser, Adolfo H. Santisteban
Foley Artists: John Roesch, Alyson Moore, Shelly Roden
Sound Effects Editors: Luis Galdames, Roland Thai, Tom Ozanich, Noa Lothian, Leanardo Barragan
Dialogue/ADR Editor: Chase Thompson

Best Sound Editing & Music: Computer Episodic Entertainment (Webisode)

Joy Ride-Prequal
Supervising Sound Editor: Charles Deenen
Sound Designers: Csaba Wagner, Charles Deenen
Supervising Foley Editor: Braden Parkes
Music Editor: Charles Deenen

Verna Fields Award In Sound Editing For Student Film Makers

Fulfilament
Directed By: Rhiannon Evans
Produced By: Alexandra Breede
Supervising Sound Editor: Matis Rei
Foley Artist: Matis Rei
Music Editor: Filip Sijanec

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