Filed in: Awards, Featured, Film, Sound, Television
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Motion Picture Sound Editors 59th Annual Golden Reel Awards

February 20, 2012 | By


George Watters II was honored with the 2012 MPSE career achievement award.

The Motion Picture Sound Editors (MPSE) honored their own at the 59th Annual Golden Reel Awards with top feature film honors going to War Horse, Super 8, The Adventures of Tintin, The Muppets and Hugo. In all, 21 Golden Reels were presented to sound crews in film, television, direct-to-video and computer entertainment.

Held at the Westin Bonaventure Hotel, the event was up in attendance from last year’s show. Opening the ceremonies, MPSE president Bobbi Banks stated, “Each year the MPSE presents the Golden Reel Awards as acknowledgements of the year’s best work in the various areas of sound editing for dialogue and ADR, effects and foley, and music.” The presenters for the evening included sound supervisor, Mark Mangini, who joked to a straight-faced, Dane Davis, “What do you get when you drop a piano down a shaft?” Answer: “A flat minor.”

Gale Anne Hurd‘s life reads like an encyclopedia,” said actress Laurie Holden (The Walking Dead) in introducing the recipient of the 2012 MPSE filmmaker award. Indeed, the veteran film and television producer – who started in the 1970s as marketing director for legendary producer, Roger Corman – is known for a “rock star” career producing some of the biggest blockbuster genre movies of the last 25 years, including Terminator, Alien, Armageddon and the current AMC hit, The Walking Dead. Presenting the award, The Walking Dead director, Ernest Dickerson cast Hurd as a visionary “pushing the media forward into the future.”

“To me, sound provides much more than 50% of the viewers’ film-going experience,” commented Hurd. In explaining her affinity for the audio discipline she continued, “I love the sound of wind chimes, a shirt rustling or silence. And I want to hear each and every nuance of an actor’s performance.” Praised for her hands-on style, technological innovations, and out-of-the-box thinking, Hurd has become one of the most successful and powerful producers in Hollywood, adding all the more weight to the compliment she paid her sound associates when she said, “Sound is more than a craft. Sound is an art form.”

Gale Anne Hurd received the 2012 MPSE filmmaker award. (Photo by Frederick M. Brown/Getty Images).

George Watters II was honored as the 2012 MPSE career achievement recipient, presented to him – after much good-natured ribbing – by director Jon Turtletaub. The award-winning supervising sound editor garnered Oscars in 1990 for The Hunt for Red October, and again in 2001 for Pearl Harbor. He has eight Academy Award nominations including Top Gun (1986), Star Trek VI: The Undiscovered Country (1991), Crimson Tide (1995), Armageddon (1998), Pirates of the Caribbean: The Curse of the Black Pearl (2003) and Pirates of the Caribbean: Dead Mans Chest (2006). He is a four-time MPSE winner and has been nominated for three BAFTA awards.

During the course of his distinguished career, Watters has supervised 76 feature films over the last 33 years, including creating 24 movie soundtracks for producer Jerry Bruckheimer. He has collaborated on multiple films with heavyweight directors such as Tony Scott, Michael Bay, Jon Turtletaub, Gore Verbinski, and Leonard Nimoy, among others. Following 19 years on staff at Paramount, Watters worked at Universal, Warner Brothers, 20th Century Fox and finally Walt Disney Studios from 2000-2011.

For a man whose work has made so much “noise,” Watters is quiet and humble, always giving credit to the colleagues who contributed to his success. “The filmmaking process is a group effort. I have been so lucky throughout my career to have worked with so many really great crews. Each person on the sound crew contributes something unique to each project and as a supervisor I feel it is important to recognize this. Additionally I enjoy the collaborative effort of working with everyone on the dubbing stage during the mixing process. It is rewarding to watch how all the different pieces come together.”

Receiving the best sound editing, short form dialogue and ADR in television Golden Reel award for the Game Of Thrones episode “Cripples, Bastards And Broken Things,” supervising dialogue editor Peter Blayney perhaps summoned up the feeling of the night best when he thanked the MPSE by saying, “The better you do dialogue editing, the less it is noticed. So thank you for noticing.”

The 2012 Golden Reel award winners are:

Feature Films

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in an Animation Feature Film

The Adventures Of Tintin, (Paramount Pictures)
Directed by: Steven Spielberg
Produced by: Peter Jackson, Kathleen Kennedy, Steven Spielberg

Supervising Sound Editors: Brent Burge, Chris Ward
Sound Designer: Dave Whitehead
Supervising Foley Editor: Craig Tomlinson
Supervising Dialogue/ADR Editor: Chris Ward
Foley Artist: John Simpson
Sound Effects Editors: Hayden Collow, Matt Stutter, Justin Doyle and Frank Lipson
Dialogue Editors: Martin Kwok, Jason Canovas, Chris Todd
ADR Editor: Morgan Samuel
“Snowy” Effects Editor: Justin Webster

Best Sound Editing: Sound Effects, Foley, Dialogue, Adr And Music In A Feature Documentary

George Harrison: Living In The Material World, (HBO)
Directed by: Martin Scorsese
Produced by: Olivia Harrison, Martin Scorsese, Nigel Sinclair

Supervising Sound Editor: Philip Stockton, MPSE
Sound Designer: Al Zaleski
Music Editor: Jennifer Dunnington

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in a Feature Foreign Language Film

The Flowers Of War, (Row 1 Entertainment)
Directed by: Yimou Zhang
Produced by: Chaoying Deng, William Kong, David Linde, Leo Shi Young and Weiping Zhang

Supervising Sound Editors: Steve Burgess, Tao Jing, MPSE
Sound Designer: Tao Jing, MPSE
Supervising Dialogue Editor: James Ashton
Foley Artists: Xu Miao, Mario Vaccaro
Dialogue/ADR Editor: Baiyang Wang
Foley Editors: Wei Wang, Yanchao Yang, Adam Connelly
Sound Effects Editors: Hongrui Ji, Yinan Tu, Tian Yong, Chris Goodes, Zheng Huang, Robert Mackenzie

Best Sound Editing: Music in a Feature Film

Hugo, (Paramount Pictures)
Directed by: Martin Scorsese
Produced by: Tim Headington, Graham King, Johnny Depp, Martin Scorsese

Supervising Music Editor: Jennifer Dunnington
Music Editor: Rob Houston
Supervising Score Editor: Jonathan Schultz
Score Editor: Kirsty Whalley
Additional Editor: Tim Starnes

Best Sound Editing: Music in a Musical Feature Film

The Muppets, (Walt Disney Studios Motion Pictures)
Directed by: James Bobin
Produced by: David Hoberman, Todd Lieberman, Don Burgess

Supervising Music Editor: Lisa Jaime
Music Editor: Richard Ford

Best Sound Editing: Dialogue And ADR in a Feature Film

Super 8, (Paramount Pictures)
Directed by: J.J. Abrams
Produced by: J.J. Abrams, Bryan Burk, Steven Spielberg

Supervising Sound Editors: Matthew Wood, Ben Burtt
Dialogue/ADR Editors: Cheryl Nardi, Rich Quinn, Steve Slanec
ADR Editors: Gwendolyn Yates-Whittle, MPSE, Brad Semenoff and Stuart McCowan, MPSE

Best Sound Editing: Sound Effects and Foley in a Feature Film

War Horse, (Touchstone Pictures)
Directed by: Steven Spielberg
Produced by: Steven Spielberg, Kathleen Kennedy

Supervising Sound Editor/Sound Designer: Gary Rydstrom, MPSE
Supervising Sound Editor: Richard Hymns
Supervising Foley Editor: Luke Dunn Gielmuda
Foley Artists: Denise Thorpe, Jana Vance
Sound Editors: Kyrsten Mate, Terry Eckton, MPSE, Tim Nielsen and Colette Dahanne

Television

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR Animation in Television

The Penguins Of Madagascar, “The Return Of The Revenge Of Dr. Blowhole,” (Viacom International)
Directed by: Bret Haaland
Produced by: Mark McCorkle, Bob Schooley, Nick Filippi

Supervising Sound Editors: Paulette Victor Lifton, MPSE, James Ian Lifton
Sound Designer: Ian Nyeste
Supervising Foley Editor: Aran Tanchum
Supervising Dialogue Editor: Michael Petak
Supervising ADR Editor: Jason Stiff
Foley Artists: Vincent Guisetti, Monique Reymond
Sound Effects Editor: Matt Hall
Dialogue Editor: Oliver Pearce
Dialogue/Music Editor: D.J. Lynch
Foley Editor: Chris Gresham

Best Sound Editing: Long Form Documentary In Television

Gettysburg, (History Channel)
Directed by: Adrian Moat
Produced by: Christopher Cowen, Ben Fox, Mark Herzog, Mary Lisio, Ridley Scott and Tony Scott

Supervising Sound Editor/Sound Designer: Zach Seivers
Supervising Foley Editor: Rodrigo Ortiz, MPSE
Sound Effects Editors: Charles Maynes, MPSE, Brent Kiser, Justin Davey, John Maynard

Best Sound Editing: Long Form Music in Television

Magic Beyond Words, “The JK Rowling Story,” (Lifetime Television)
Directed by: Paul Kaufman
Produced by: Jonathan Eskenas

Supervising Music Editor: Michael T. Ryan, MPSE

Best Sound Editing: Long Form Dialogue and ADR in Television

Homeland, “Marine One,” (Showtime)
Directed by: Michael Cuesta
Produced by: Alex Gansa, Howard Gordon

Supervising Sound Editor: Craig A. Dellinger, MPSE
Sound Designer: Jonathan Golodner
Dialogue Editors: Devin Joseph, Larry Goeb, Jeff Clark and Chato Hill

Best Sound Editing: Long Form Sound Effects and Foley in Television

The Walking Dead, “What Lies Ahead,” (AMC)
Directed by: Ernest Dickerson, Gwyneth Horder-Payton
Produced by: Gale Anne Hurd, Robert Kirkman, Frank Darabont, Glen Mazzara, Paul Gadd, Dave Alpert

Supervising Sound Editor: Jerry Ross
Foley Artists: Gregg Barbanell, MPSE, Pamela Kahn, MPSE
Sound Editors: Tim Farrell, Phil Barrie and Jerry Edemann

Best Sound Editing: Short Form Documentary in Television

Man Made, “Bugatti Super Car,” (National Geographic)
Directed by: Dylan Weiss
Produced by: Milt Weiss

Supervising Sound Editor: Joe Pizzulo
Supervising Dialogue/ADR Editor: Mark Mercado
Music Editor: Peter Karr

Best Sound Editing: Short Form Music in Television

Raising Hope, “Prodigy,” (20th Century Fox)
Directed by: Eyal Gordin
Produced by: Greg Garcia, Henry Lange, Jr., Kim Hamberg

Supervising Music Editor: Sharyn Gersh
Music Editor: Susan Ham

Best Sound Editing: Short Form Musical in Television

Grey’s Anatomy, “Song Beneath The Song,” (Disney Media Distribution)
Directed by: Tony Phelan
Produced by: Shonda Rhimes, Betsy Beers, Mark Gordon, Tammy Ann Casper

Supervising Music Editor: Jennifer Barak
Music Editors: Carli Barber, Jessica Harrison

Best Sound Editing: Short Form Dialogue and ADR in Television

Game Of Thrones, “Cripples, Bastards And Broken Things,” (HBO)
Directed by: Brian Kirk
Produced by: David Benioff, Frank Doelger, Dan Weiss and Carolyn Strauss

Supervising Sound Editor: Stefan Henrix
Supervising Dialogue Editor: Peter Blayney
Supervising ADR Editor: Tim Hands
ADR Editor: Iain Eyre

Best Sound Editing: Short Form Sound Effects and Foley in Television

Game Of Thrones, “Winter Is Coming,” (HBO)
Directed by: Tim Van Patten
Produced by: David Benioff, Frank Doelger, Dan Weiss and Carolyn Strauss

Supervising Sound Editor: Stefan Henrix
Sound Designer: Andy Kennedy
Supervising Foley Editor: Steve Fanagan
Foley Artists: Caoimhe Doyle, Eoghan McDonnell
Sound Effects Editors: Naill Brady, Jon Stevenson and Fiadhnait McCann

Other

Best Sound Editing: Computer Episodic Entertainment

Aim High, (Warner Brothers Digital Distribution)
Directed by: Thor Freudenthal
Produced by: Andy Shapiro, Lance Sloan

Supervising Sound Editor: Trip Brock
Supervising Foley Editor: Greg Mauer
Supervising Dialogue/ADR Editor: Ben Whitver
Foley Artist: Tara Blume
Music Editor: Chris McGeary, MPSE
Sound Effects Editors: Steven Avila, Alexander Pugh and Peter Daniel Lago, MPSE

Best Sound Editing: Computer Interactive Entertainment

Need For Speed, “The Run,” (Electronic Arts)
Directed by: Jason Delong, Kirk Gibbons, Adam Myhill
Produced by: Jason Delong

Supervising Sound Editors: Peter Zinda, MPSE, Charles Deenen
Sound Designers: Tim Walston, MPSE and Tim Gedemer, MPSE
Supervising Dialogue/ADR Editor: Fred Stahly
Foley Artist: Gary Hecker
Music Editor: Bryan Celano
Sound Effects Editors: Mike Berg, Csaba Wagner, Ethan Van der Ryn, Steve Robinson, MPSE, Scott Wolf, MPSE and Bryan Jerden

Best Sound Editing: Direct-to-Video Animation

Megamind, “The Button Of Doom,” (Dreamworks Home Entertainment)
Directed by: Simon J. Smith
Produced by: Denise Nolan Cascino, Mark Swift

Supervising Sound Editor: John Marquis
Music Editor: Adam Smalley, MPSE
Foley Artists: Dan O’Connell, John Cucci
Sound Effects Editor: Tobias Poppe
Foley Editor: Jonathan Klein
ADR Editor: Susan Dudek

Best Sound Editing: Direct-to-Video Live Action

Love, (To The Stars)
Directed by: Will Eubank
Produced by: Tom DeLong, Mark Eaton

Supervising Sound Editor/Sound Designer: Robert Kellough
Supervising Sound Editor: Craig Henighan, MPSE
Foley Artist: Steve Baine
Sound Editor: Andy Koyama

Best Sound Editing: Special Venue

Rocky Mountain Express, (The Stephen Low Company)
Directed by: Stephen Low
Produced by: Pietro L. Serapiglia, Alexander Low

Supervising Sound Editor: Peter Thillaye
Sound Designers: Ed Douglas, Karl Mohr
Supervising Foley Editor: Michel B. Bordeleau
Music Editor: Cory Mandel
Foley Artists: Goro Koyama, Andy Malcolm

Verna Fields Award in Sound Editing for Student Filmmakers

The Pride Of Wade Ellison, (National Film And Television School)

Supervising Sound Editor: Jay Price
Foley Artist: Ruth Sullivan

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