Hacksaw Ridge captured Golden Reels for Best Sound Editing in Feature Film for both FX/Foley and Dialogue/ADR. Supervising sound editor Robert Mackenzie stated, “This film really is an example of the whole being greater than the sum of the parts. Everyone put in so much and it really shows.”
La La Land garnered yet another craft award taking Best Sound Editing – Music, Musical Feature. Music editor Jason Rudler thanked his daughter Alexa “who continues to play the soundtrack every morning at our house.”
Warcraft: The Beginning won Best Sound Editing in Feature Film – Music Score. Moana topped the category for Best Sound & Music Editing: Animation – Feature Film. Best Sound & Music Editing: Documentaries – Feature Film went to The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble
Westworld took home two trophies in the MPSE television categories. Best Sound & Music Editing: Television Documentary Long Form went to My Beautiful Broken Brain.
Shot using core audio and visual technologies currently defining the future of immersive storytelling and virtual reality, Patrick Osborne’s musical film Pearl, received Best Sound & Music Editing: Special Venue.
Fishwitch and Icarus tied for the Verna Fields Award In Sound Editing in Student Films. In receiving the award, Icarus supervising sound editor Gerry Vazquez mentioned his Pilipino descent and exclaimed, “This is the American dream!”
The 64th MPSE Golden Reel Awards ceremony was held on February 19th at the Westin Bonaventure Hotel in Los Angeles. The show was well-produced and moved at a quicker pace than previous years, while still taking the time to honor creative triumphs in sound editing.
In his opening remarks, MPSE president Tom McCarthy expounded on the future, “The horizons for sound are expanding, and new forms of entertainment such as virtual reality are emerging. New distribution channels are propelling the growth of television and gaming. Immersive sound formats including Atmos, Aural, DTSX and IMAX are enriching the theater experience… The future has no boundaries and it is impossible to predict what new challenges will be presented to practitioners of our craft in the years to come.”
Supervising sound editor Scott Gershin presented the Filmmaker Award to Guillermo del Toro, director, producer and writer known for The Shape of Water, Pan’s Labyrinth, Crimson Peak, Hellboy, and Pacific Rim. Introducing the director Gershin commented, “Guillermo keeps pushing the boundaries and looks for every sonic opportunity to better tell his stories.”
Asked about his love of sound del Toro replied, “Sound is the only discipline in film that actually touches you. It actually touches your ear and makes it move. It hits you in the solar plexus with the low frequencies and it can actually alter your rhythm when you’re watching a movie. It’s a very immersive, biologically effecting experience.”
The audience erupted in applause and cheers when del Toro said, “I am Mexican, and in these hard times, the fact that you are giving me this award proves that those barriers people try to erect between us are false.” As the crowd settled down, he referenced the long hours he and his collaborators work, “Because at the end of the day, we are all peers, we are all in this together, and we’re all coming home a little late.”
Supervising sound editor Wylie Statemen MPSE and producer Shannon McIntosh introduced 2017 MPSE Career Achievement Award honoree, supervising sound editor and sound designer Harry Cohen, MPSE.
An 18-time MPSE Golden Reel Award nominee, Cohen has contributed to more than 150 movies and television shows, and worked alongside directors, Oliver Stone, Ridley Scott, Rob Marshall, Edward Zwick, and Roland Emmerich, among others. Cohen’s event reel consisted of a breathtaking collection of clips from acclaimed films such as Memoirs of a Geisha, the Kill Bill series, Django Unchained, The Hateful Eight, Lone Survivor, and Deepwater Horizon.
Director Quentin Tarantino made an unannounced appearance to present the trophy to Cohen, his collaborator on six films. After the crowd’s raucous applause abated, Tarantino was succinct, “Well, Harry, this is a wonderful night for you. This is a wonderful night to be here, for us all to take this in. I think you should come up and get your award!”
In the acceptance of his honor, Cohen talked about early aspirations to be a musician and late entry into film sound. Attributing his successes to the guidance he received during his early career, he emphasized the importance of mentoring new talent in the industry.
What Cohen loves about sound is “The ability of sound to tell the story. I started as a musician. When we do a track, we do things like take a train whistle and tune it to the score; put the sound of the train tracks in rhythm to the score, so it doesn’t muddy things up. It just helps tell the story.”
Presenters included Actor Erich Riegelmann, Actress Julie Parker, Avid Technology Director Strategic Solutions Rich Nevens, Sound Effects Editor Liam Price, Producer and Journalist Geoff Keighley, Formosa Interactive Vice President of Creative Services Paul Lipson, Production Sound Editor and CAS President Mark Ulano, Actress Andrene Ward-Hammond, Supervising Sound Editor Mark Lanza, Supervising Sound Editor Bernard Weiser, Picture Editor Sabrina Plisco, Actor Michael Graham, Technicolor VP, Head of Theatrical Sound Jeff Eisner and Actress Katie Cleary.
Full list of winners below:
BEST SOUND & MUSIC EDITING: TELEVISION ANIMATION
Albert
Supervising Sound Editor: Jeff Shiffman MPSE
Dialogue Editors: Michael Petak, Anna Adams
Foley Editor: Tess Fournier
Foley Artist: Craig Ng
Music Editor: Brad Breeck
Sound Effects Editors: Jessey Drake MPSE, Tess Fournier, Jeff Shiffman MPSE
BEST SOUND & MUSIC EDITING: TELEVISION DOCUMENTARY SHORT FORM
Sonic Sea
Supervising Sound Editor: Trevor Gates
Dialogue Editor: Ryan Briley
Sound Effects Editors: Ron Aston, Christopher Bonis
BEST SOUND & MUSIC EDITING: TELEVISION DOCUMENTARY LONG FORM
My Beautiful Broken Brain
Supervising Sound Editor: Nick Ryan
Dialogue Editor: Claire Ellis
Sound Effects Editor: Tom Foster
BEST SOUND & MUSIC EDITING: ANIMATION – FEATURE FILM
Moana
Supervising Sound Editor: Tim Nielsen
Supervising Dialogue Editor: Jacob Riehle
Foley Editors: Thom Brennan, Matthew Harrison
Music Editors: Earl Ghaffari, Dan Pinder
Temp Music Editors: Dominick Certo, Tommy Holmes
Sound Effects Editors: Jonathan Borland, Pascal Garneau, Lee Gilmore
Foley Artists: John Roesch, Shelley Roden
BEST SOUND & MUSIC EDITING: DOCUMENTARIES – FEATURE FILM
The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble
Supervising Sound Editor: Pete Horner
Sound Designer: Al Nelson
Sound Effects Editor: Andre Zweers
VERNA FIELDS AWARD IN SOUND EDITING IN STUDENT FILMS (TIE)
Fishwitch
Supervising Sound Editor: Zoltan Juhasz
Foley Artist: Zoltan Juhasz
Sound Designer: Zoltan Juhasz
Icarus
Supervising Sound Editor: Gerry Vazquez
Sound Designer: Gerry Vazquez
BEST SOUND & MUSIC EDITING: COMPUTER EPISODIC ENTERTAINMENT (WEBISODE)
Joyride
Supervising Sound Editor: Charles Deenen
Sound Designer: Csaba Wagner
Sound Effects Editors: Braden Parkes, Ozan Biron
Foley Artist: Rustam Gimadiyev
Sound Editor: Travis Prater
BEST SOUND & MUSIC EDITING: GAME CINEMATICS
Gears of War 4
Supervising Sound Editors: Charles Deenen, Csaba Wagner
Sound Designers: Tim Walston, Sam Justice, Crispin Hands
Sound Effects Editors: Braden Parkes, Justin Davey, Chris Diebold, Mike Schapiro, Malte Bieler, Jamey Scott
Foley Editors: Matt Cavanaugh, Colin Hart, George Pereyra, Craig Tomlinson
Audio Director: John Morgan
Audio Lead: Josh Linton
BEST SOUND & MUSIC EDITING: DIRECT TO VIDEO ANIMATION
Lego DC Comics Superheroes: Justice League – Gotham City Breakout
Supervising Sound Editors: Devon Bowman, Rob McIntyre
Supervising Dialogue Editor: Mark A. Keatts
Dialogue Editors: Kelly Foley-Downs, Mike Garcia, Patrick Foley
Foley Editor: Aran Tanchum, Derek Swanson
Foley Artist: Vincent Guisetti
Sound Effects Editors: Evan Dockter, Lawrence Reyes, Marc Schmidt, DJ Lynch
BEST SOUND & MUSIC EDITING: DIRECT TO VIDEO LIVE ACTION
The Duel
Supervising Sound Editor: David Barber, MPSE
Dialogue Editor: Micah Loken
ADR Editor: Michael Kreple
Foley Artists: Gonzalo Espinoza, David Kitchens, MPSE
Music Editor: Ben Zarai
Sound Effects Editors: Sean Gray, Ken Skoglund, Steve Urban
BEST SOUND & MUSIC EDITING: SPECIAL VENUE
Pearl
Supervising Sound Editor: Jamey Scott
Audio Director: Scot Stafford
Music Editor: Alexis Harte, JJ Wiesler
Sound Designer: Jamey Scott
BEST SOUND & MUSIC EDITING: FEATURE FILM – FOREIGN LANGUAGE
The King’s Choice
Supervising Sound Editor: Christian Schaanning
Dialogue Editors: Ingela Jonsson, Espen Ronning
Foley Artist: Lucas Nilsson
Sound Designer: Christian Schaanning
Sound Effects Editors: Fredrik Dalenfjäll, Erlend Hogstad, Jens Johansson
BEST SOUND EDITING IN TELEVISION: SHORT FORM – MUSIC SCORE
Stranger Things “Chapter Three: Holly Jolly”
Music Editor: David Klotz
BEST SOUND EDITING IN TELEVISION: SHORT FORM – MUSIC, MUSICAL (TIE)
Mozart In The Jungle “Now I Will Sing”
Music Editor: Jason Tregoe Newman, Bryant J. Fuhrmann
The Get Down “Raise Your Words, Not Your Voice”
Music Editor: Jamieson Shaw
BEST SOUND EDITING IN TELEVISION: SHORT FORM – DIALOGUE / ADR
Penny Dreadful III “Ebb Tide”
Supervising Sound Editor: Jane Tattersall
Supervising Dialogue Editor: David McCallum
Dialogue Editor: Elma Bello
ADR Editor: Dale Sheldrake, Paul Conway
BEST SOUND EDITING IN TELEVISION: SHORT FORM – FX/FOLEY
Westworld “Trompe L’Oeil”
Supervising Sound Editors: Thomas E. de Gorter MPSE, Matthew Sawelson MPSE
Foley Editors: Geordy Sincavage, Michael Head
Foley Artists: Tara Blume, Rick Owens MPSE
Sound Designers: Mark R. Allen MPSE, Marc Glassman MPSE
BEST SOUND EDITING IN TELEVISION: LONG FORM – MUSIC SCORE & MUSICAL
The Rocky Horror Picture Show: Let’s Do The Time Warp Again
Music Editor: Kevin Bassinson
BEST SOUND EDITING IN TELEVISION: LONG FORM – DIALOGUE/ADR
The Night Of “Part 1 The Beach”
Supervising Sound Editor: Nicholas Renbeck
Dialogue Editors: Sara Stern, Luciano Vignola, Odin Benitez
ADR Editor: Marissa Littlefield
BEST SOUND EDITING IN TELEVISION: LONG FORM – FX/FOLEY
Westworld “The Bicameral Mind”
Supervising Sound Editors: Thomas E. de Gorter MPSE, Matthew Sawelson MPSE
Foley Editors: Geordy Sincavage, Michael Head
Foley Artists: Rick Owen MPSE, Tara Blume
Sound Designers: Mark Allen MPSE, Marc Glassman MPSE
BEST SOUND EDITING IN FEATURE FILM – MUSIC SCORE
Warcraft: The Beginning
Music Editors: Michael Bauer, Peter Myles
BEST SOUND EDITING IN FEATURE FILM – MUSIC, MUSICAL FEATURE
La La Land
Music Editor: Jason Ruder
BEST SOUND EDITING IN FEATURE FILM – DIALOGUE / ADR
Supervising Sound Editor: Andy Wright
Supervising ADR Editors: Justine Angus, Kimberly Harris
Dialogue Editor: Jed Dodge
ADR Editor: Michele Perrone
BEST SOUND EDITING IN FEATURE FILM – FX/FOLEY
Hacksaw Ridge
Supervising Sound Editors: Robert Mackenzie
Foley Editor: Steve Burgess, Alex Francis
Foley Artist: Mario Vaccaro
Sound Effects Editors: Liam Price, Tara Webb, Steve Burgess
