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HomeAwardsAmerican Sniper, Unbroken and Birdman Split Top Honors at Golden Reel Awards

American Sniper, Unbroken and Birdman Split Top Honors at Golden Reel Awards

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From left John Guentner, Kevin R. W. Murray, John T. Cucci, MPSE, Michael Dressel, Alan Robert Murray, Christopher Flick, Bub Asman, Jason King and Roland N. Thai.
From left John Guentner, Kevin R. W. Murray, John T. Cucci, MPSE, Michael Dressel, Alan Robert Murray, Christopher Flick, Bub Asman, Jason King and Roland N. Thai.
American Sniper garnered the best sound editing in feature film – FX/Foley award for supervising sound editors Alan Murray, Bub Asman and their crew, an award indicator that bodes well for the sound team’s Oscar hopes. Supervising sound editors, Becky Sullivan, MPSE, Andrew DeCristofaro, MPSE and their crew took home the best sound editing in feature film – dialogue/ADR for Unbroken.

Best sound editing in feature film: music went to Birdman, with the James Brown bio-pic, Get On Up,receiving best sound editing in feature film – music (musical feature). Big Hero 6 was awarded best sound and music editing – feature animation.

Best sound and music editing – feature documentaries was handed out to the Polish sound team of Warsaw Uprising, who dedicated their win to the 200,000 people who fought and perished in their effort against the German occupation during the waning days of World War II.

From left: Lauren Hadaway, Laura Atkinson, Becky Sullivan, MPSE, Andrew DeCristofaro, MPSE, Glynna Grimala.
From left: Lauren Hadaway, Laura Atkinson, Becky Sullivan, MPSE, Andrew DeCristofaro, MPSE, Glynna Grimala.
Awards were given out in 20 categories of sound editing for films, television, animation, documentary, direct-to-video, computer entertainment and student films at the 62nd annual Motion Picture Sound Editors (MPSE) Golden Reel Awards, held at the Westin Bonaventure Hotel. Ahead of the presentation, cocktails and dinner were served.

Pre-ceremony, MPSE president Frank Mirrone, MPSE, quipped that the festive evening was “getting me out of a dark room.” By the number of people at the event, apparently a large number of sound editors were happy to get out of their dark rooms to celebrate.

In opening the show, Mirrone noted the high quality of work in the over 800 submissions considered by the blue ribbon panels who selected the nominees. He stated the goal of the MPSE, “To improve the prestige and the recognition of its members through the education of the entertainment community and general public to the importance and the artistic merit of the soundtrack.”

Sound designer, supervising sound editor and re-recording mixer, Craig Henigham, was on hand to present the MPSE Filmmaker Award to Academy Award-nominated director, Darren Aronofsky. Henigham, who has worked with the director on four films, described him as, “Someone who does not like to compromise his art.” He added that Aronofsky is “fiercely protective of creativity.”

From left: Terry Wilson, Martin Hernandez and Will Kaplan.
From left: Terry Wilson, Martin Hernandez and Will Kaplan.
Aronofsky spoke about the collaborative experience and detail-orientated nature of good filmmaking, stating,“Sound is part of the narrative tools filmmakers use to help create an environment that helps to tell our story. You can use it to increase the subjectivity of your character. You can use it to set a mood. It’s really a major tool for narrative filmmaking and it’s really fun to experiment with.”

The MPSE Lifetime Achievement Award is given in recognition of a career in outstanding achievement in sound. In presenting the award, sound re-recording mixer, Greg Orloff called honoree Skip Lievsay, MPSE “a true innovator who has elevated the craft of sound editing, sound design and sound mixing. He has advanced the art and changed the landscape of motion picture sound, not only in the way that we in this room do our jobs, but also in the way that film sound is perceived outside of this room.”

From left: Addison Teague, Earl Ghaffari, Dan Pinder, Kim Foscato, Jacob Riehle, Shannon Mills and Robert Shoup.
From left: Addison Teague, Earl Ghaffari, Dan Pinder, Kim Foscato, Jacob Riehle, Shannon Mills and Robert Shoup.
Among the notable directors Lievsay has worked with are the Cohen brothers, Martin Scorsese, Spike Lee and Jonathan Demme. He has received numerous awards including the Oscar in sound mixing for Gravity and a Golden Reel Award for Barton Fink. In New York at the time of that 1992 MPSE win, Lievsay took the belated opportunity at this year’s ceremony to thank the organization for his team Barton Fink honor. He went on to thank the filmmakers that he has worked with for, “Urging us. Driving us. Challenging us to do great work.”

In the press room as the evening’s event was wrapping up, Alan Murray expressed how happy he was not just with his Golden Reel for American Sniper, but also with the fact that the nervousness a nominee feels was over, at least until next week at the Oscars. His parting comment was, “Now it’s time to drink.” Cocktails to start and a drink to end – perfect bookends to a perfect evening.

Presenters included Steve Williams, Joanie Diener, Ben Wilkins, William Files, Paulette Lifton, Bill Danevik, David Bondelevitch, Solange Schwable, Glenn Morgan, Mandell Winter, Tom McCarthy and Ra’ul Glasgow.

The winners of the MPSE Golden Reel awards are:

Best Sound Editing in Feature Film: FX/Foley
American Sniper
Supervising Sound Editors: Alan Robert Murray, Bub Asman
Sound Effects Editors: Jason King, Mark Larry, Roland N. Thai, Kevin R.W. Murray
Sound Designer: Tom Ozanich
Supervising Foley Editor: Michael Dressel
Foley Editor: Christopher Flick
Foley Artists: Dan O’Connell, John T. Cucci, MPSE

Best Sound Editing in Feature Film: Dialogue/ADR
Unbroken
Supervising Sound Editors: Becky Sullivan, MPSE, Andrew DeCristofaro, MPSE
Dialogue/ADR Editors: Laura Atkinson, Glynna Grimala
ADR Editor: Lauren Hadaway

Best Sound Editing in Feature Film: Music
Birdman
Supervising Music Editor: Martin Hernandez
Music Editors: Terry Wilson, Will Kaplan

Best Sound Editing in Feature Film: Music (MusicalFeature)
Get On Up
Supervising Music Editor: Curt Sobel
Music Editors: Jordan Corngold

Best Sound and Music Editing: Feature Animation
Big Hero 6
Supervising Sound Editor: Shannon Mills
Supervising Foley Editor: Robert Shoup
Supervising Dialogue Editor: Kim Foscato
Supervising ADR Editor: Daniel Laurie
Foley Artists: John Roesch, Alyson Dee Moore
Sound Effects Editors: Addison Teague, Nia Hansen, David C. Hughes, Jeremy Bowker
Supervising Music Editor: Dan Pinder
Music Editor: Earl Ghaffari
Foley Editor: Jim Likowski

Best Sound and Music Editing: Feature Film, Foreign Language
The Liberator
Supervising Sound Editors: Jay Nierenberg, MPSE, Jonathan Wales
Sound Designer: Trevor Gates
Supervising ADR Editor: Andrés Velasquez
Foley Artist: Vicki O’Reilly Vandegrift
Sound Effects Editors: Chris Diebold, Steven Iba, Charles Maynes, MPSE, Brent Findley
Dialogue/ADR Editors: Angela Hemingway, Todd Niesen, MPSE
Supervising Music Editor: Ramiro Belgardt
ADR Editors: Juan Diego Borda, Aleksandar Sasha Panich
Foley Editor: Zach Schmitt, MPSE

Best Sound and Music Editing: Feature Documentaries
Warsaw Uprising
Supervising Sound Editors: Kacper Habisiak, MPSE, Bartosz Putkiewicz
Sound Designer: Marcin Kasiński ,MPSE, Dariusz Stanek
Supervising Foley Editor: Henryk Zastróżny
Supervising Dialogue/ADR Editor: Filip Krzemień
Foley Artists: Jacek Wiśniewski, Jacek Pająk
Sound Effects Editors: Aleksandra Pająk, Anna Kufirska, Filip Krzyżykowski
Dialogue/ADR Editor: Tomasz Maciątek
Supervising Music Editor: Agnieszka Putkiewicz
Music Editors: Dariusz Podhajski, Anna Malarowska
ADR Editors: Stefan Gawłowski, Maciej Wiejaczka, Jarosław Bajdowski, Mariusz Bielecki, Mariusz Andrysik
Sound Effect Editor: Michał Kosterkiewicz

Best Sound Editing in Television, Long Form: FX/Foley
Houdini – Night 1
Supervising Sound Editor: Michael J. Benavente, MPSE
Supervising Foley Editor: Robert Ulrich
Foley Artist: Joan Rowe, MPSE
Sound Effects Editors: Michael Sana, Paul Diller, Tim Cleveland, Gary Megregian, MPSE, John Snider
Foley Editors: Rachel Corrales, Ryan Maguire

Best Sound Editing in Television, Long Form: Dialogue/ADR
Klondike – Episode 1
Supervising Sound Editor: Lee Walpole
Supervising Dialogue Editor: Jason Lawrence
Supervising ADR Editor: Iain Eyre

Best Sound and Music Editing: Television Documentary, Long Form
Foo Fighters Sonic Highways – “Seattle”
Supervising Sound Editor/Sound Designer/Supervising Dialogue Editor: Eddie Kim
Supervising Dialogue/ADR Editor: Jeff Fuller
Sound Effects Editors: Eddie Kim, Justin Lebens
Dialogue/ADR Editor: Justin Lebens
Supervising Music Editor: Jeff Fuller

Best Sound Editing in Television, Short Form: Music, Tie
Almost Human
Music Editor: Warren Brown, MPSE

Fargo
Supervising Music Editor: Skye Lewin, MPSE

Best Sound Editing in Television, Short Form: FX/Foley
Game Of Thrones – “The Children”
Supervising Sound Editor: Tim Kimmel
Sound Designer: Paula Fairfield, MPSE
Supervising Foley Editor: Brett Voss
Foley Artists: Jeffrey Wilhoit, MPSE, Dylan Wilhoit
Sound Effects Editor: Bradley Katona, MPSE

Best Sound Editing in Television, Short Form: Dialogue/ADR
The Newsroom – “Oh Shenandoah”
Supervising Sound/ADR Editor: Mark Relyea
Dialogue/ADR Editors: Edmund Lachmann, Julie Altus

Best Sound and Music Editing: Television Documentary, Short Form
Ax Men – “Ax Marks The Spot”
Supervising Sound Editor/Sound Designer: Bob Bronow, MPSE
Supervising Dialogue Editor: Doug Kern
Sound Effects Editor: Eddie Rodriguez

Best Sound and Music Editing: Television Animation
Star Wars: Rebels – “Gathering Forces”
Supervising Sound Editors: Matthew Wood, David Acord
Sound Designer: David Acord
Supervising Foley Editor: Frank Rinella
Foley Artists: Kim Patrick, Frank Rinella
Sound Effects Editor: Ryan Frias
Dialogue/ADR Editor: Tony Diaz, MPSE
Supervising Music Editor: Sean Kiner

Best Sound and Music Editing: Direct-to-Video, Live Action
Stonehearst Asylum
Supervising Sound Editors: Lon Bender, MPSE, Bill Dean, MPSE
Sound Designers: Lon Bender, MPSE, Kris Fenske, MPSE
Supervising Foley Editor: Rachel Chancey,
Supervising Dialogue/ADR Editor: Bobbi Banks
Foley Artist: Ryan Collison
Sound Effects Editors: Patrick Cicero, Dino R. DiMuro, MPSE, Hector Gika, MPSE, Allan Zaleski, David Raines
Supervising Music Editor: John Carbonara
Music Editor: Chad Birmingham

Best Sound and Music Editing: Direct-to-Video, Animation
Star Wars: The Clone Wars “Sacrifice”
Supervising Sound Editor: Matthew Wood
Sound Designer: David Acord
Supervising Foley Editor: Kevin Sellers
Supervising Dialogue/ADR Editor: Steve Slanec
Sound Effects Editor: Jeremy Bowker
Supervising Music Editor: Dean Menta
Music Editor: Sean Kiner

Best Sound and Music Editing: Computer Episodic Entertainment (Webisode)
Halo Nightfall
Supervising Sound Editor: Lee Walpole
Sound Designer: Andy Kennedy
Supervising Foley Editor: Sarah Elias
Supervising Dialogue/ADR Editor: Jeff Richardson
Foley Artist: Meltem Baytok
Sound Effects Editors: Matthew Mewett, Danton Tanimura

Best Sound and Music Editing: Game Cinematics
League Of Legends – “A New Dawn”
Supervising Sound Editors: Riot Games Audio Team
Sound Designers: Riot Games Audio Team
Supervising Dialogue/ADR Editor: Riot Games Audio Team
Foley Artists: Gary Hecker, Gary Marullo
Sound Effects Editors: Riot Games Audio Team
Music Editors: Michael Patti, Michael Barry

Verna Fields Award in Sound Editing for Student Films
Sea Odyssey
Savannah College of Art and Design
Supervising Sound Editor: Beau Anthony Jimenez
Supervising Foley Editor: Eolyne Arnold
Foley Artist: Melissa Terry
Sound Effects Editors: Jacob Flack, Nick Caramela, Matt Yocum
Dialogue/ADR Editor: Kai Paquin

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