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MPSE Golden Reel Awards Honor the Contributions of Sound


The Motion Picture Sound Editors held their 58th annual Golden Reel Awards at the Westin Bonaventure Hotel in downtown L.A., Feb. 20.

The big winners of the night for the feature film categories were Columbia PicturesThe Social Network and Warner Bros. PicturesInception. Supervising sound editor Ren Klyce, supervising dialogue editor Malcolm Fife, supervising ADR editor Richard Quinn, and dialogue/ADR editor Jeremy Molod were winners for The Social Network for best sound editing, dialogue and ADR in a feature film.

For Inception, best sound editing for music in a feature film was awarded to supervising music editor Alex Gibson and music editor Ryan Rubin. Supervising sound editor/sound designer, Richard King, supervising foley editor, Christopher Flick, foley artist, Alyson Dee Moore, foley artist, John Roesch, sound effects editor, Michael Babcock, sound effects editor, Paul Berolzheimer, sound effects editor, Michael W. Mitchell, sound effects editor, Bryan Watkins, MPSE, and foley editor, Bruce Tanis, MPSE won a second award for Inception for best sound editing for sound effects and foley in a feature film.

The special awards of the evening were the career achievement award that went to Walter Murch, and the filmmaker award that went to Brian Grazer.

George Lucas, Walter Murch, and Randy Thom. (Courtesy of MPSE. Photo by Linda Treydte/Peter Zakhary|Tilt Photo).

Walter Murch was introduced as a “Renaissance Man” by longtime collaborator George Lucas, who stated that they had been working together for over 45 years, and drew applause from the crowd when he said that sound should start the same day that the picture editor did. Murch, who was the first person to receive the sound designer credit, got cheers when he acknowledged the toll this industry takes on family members and dedicated the award to his wife Aggie. He thanked a huge number of sound editors that he had worked with. As Lucas had predicted in his introduction, Murch then got quite philosophical as he explored the “exploitative” versus the “explorative” nature of film. After Murch’s acceptance speech, Lucas presented him with a proclamation from the city of Los Angeles congratulating the editor on his win.

Brian Grazer, who over the course of more than 25 years has been nominated for 43 Oscars and 131 Emmys, winning a best picture Oscar for A Beautiful Mind in 2002, was the first producer to ever receive the filmmaker award from MPSE. He made a brief acceptance speech via video, acknowledging the tremendous contribution of sound editors to movie-making.

The award for best sound editing for sound effects, foley, dialogue, ADR in an animation feature film went to Paramount PicturesHow to Train Your Dragon, supervising sound editor Jonathan Null, supervising sound editor/sound designer, Randy Thom, sound designer, Al Nelson, supervising foley editor, Pascal Garneau, supervising dialogue editor, Chris Gridley, foley artist, Dennie Thorpe, foley artist, Jana Vance, sound effects editor, Colette Dahanne, sound effects editor, Josh Gold, sound effects editor, Pete Horner, foley editor, Sue Fox, foley editor, Andrea Gard, and ADR editor, Rich Quinn.

Rush, Beyond the Lighted Stage garnered best sound editing for sound effects for foley, dialogue, ADR and music in a feature documentary, for supervising sound editor, David Rose, sound effects & music editor, David Rose, sound effects & music editor, Andrew Wright, and dialogue editor, Stephen Barden.

Best sound editing for sound effects, foley, dialogue and ADR in a feature foreign language film was given to Warner Bros. Entertainment France’s Micmacs, supervising sound editor, Gerard Hardy, supervising sound editor/sound designer, Selina Azzazi, supervising foley editor, Jean-Pierre LeLong, supervising dialogue editor, Darilera Cavola-Hardy, supervising ADR editor, Alain Levy, and foley artist, Nicolas Becker.

Best sound editing for music in a musical feature film went to music editor, Fernand Bos, MPSE and music editor, Philip Tallman for Screen GemsCountry Strong.

In the Television division, the winners were:

The Penguins of Madagascar, The Lost Treasure of the Golden Squirrel from Viacom International Inc. for best sound editing for sound effects, foley, dialogue and ADR animation in television, supervising sound editor, Paulette Victor Lifton, MPSE, supervising sound editor, James Ian Lifton, sound designer, Ian Nyeste, supervising foley editor, Aran Tanchum, supervising dialogue editor, Michael Petak, supervising ADR editor, Jason Stiff, foley artist, Vincent Guisetti, sound effects & foley editor, Lawrence Reyes, sound effects editor, Matt Hall, dialogue editor, D.J. Lynch, and dialogue editor, Oliver Pearce.

Best sound editing for long form dialogue and ADR in television was won by The Pacific, Basilone from HBO, supervising sound editor, Tom Bellfort, supervising dialogue/ADR editor, Daniel S. Irwin, MPSE, dialogue editor, John C. Stuver, MPSE, ADR editor, Michael Hertlein, ADR editor, Michelle Pazer, and ADR editor, David Williams.

The best sound editing for long form documentary award, went to National Geographic ChannelsAnd Man Created Dogs, supervising sound editor, Michael J. Payne, supervising foley editor/foley artist, Patrick Cusack, supervising dialogue editor, John C. Stuver, MPSE, and music editor, John DeFaria.

For best sound editing for long form sound effects and foley in television, The Pacific, Peleliu Landing from HBO took the Golden Reel for supervising sound editor, Tom Bellfort, supervising foley editor, Tom Bellfort, foley artist, Katie Rose, foley artist, Jody Thomas, MPSE, sound effects/foley editor, Hector Gika, MPSE, sound effects editor, Paul Aulicino, MPSE, sound effects editor, Ben Cook, and sound effects editor, Charles Maynes.

The best sound editing for short form dialogue and ADR in television award went to The Walking Dead, Guts from AMC, supervising sound editor, Walter Newman, MPSE, supervising dialogue editor, Darleen R. Stoker, supervising ADR editor, Lou Thomas, ADR editor, Peter Austin, ADR editor, Karyn Foster, ADR editor, Skip Schoolnik, and dialogue editor, Bruce Honda.

The Tudors, The Sixth and Final Wife from Showtime Networks Inc. won for best sound editing for short form sound effects and foley in television, supervising sound editor, Jane Tattersall, MPSE, foley artist, Goro Koyama, foley artist, Andy Malcolm, sound effects editor, Kathy Choi, and sound effects editor, Jane Tattersall, MPSE

Not too surprising that Glee, The Power of Madonna from 20th Century Fox Home Entertainment garnered best sound editing for short form musical in television for music editor, David Klotz, while the best sound editing for short form music in television went to music editor, Annette Kudrak who took home the Golden Reel for Boardwalk Empire, Anastasia from HBO.

After the Television category, the “Other” category gave out six Golden Reels:

Best sound editing, direct to video—animation was won by Family Guy, It’s a Trap from 20th Century Fox, supervising sound editor, Bob Newlan, MPSE, sound designer, Andrew Ellerd, music editor, Patrick Clark, foley artist, Dale Perry, sound effects editor, Stuart Martin, dialogue editor, Mark Eklund, music editor, Stan Jones, and music editor, Doug Lackey.

The best sound editing for computer interactive entertainment award went to Disney Epic Mickey from, of course, Disney Interactive, supervising sound editor, Scott Martin Gershin, MPSE, supervising sound editor, Martin Galway, sound designer, Steve Robinson, MPSE, sound designer, Masanobu “Tomi” Tomita, sound designer, Peter Zinda, MPSE, foley artist, Jimmy Moriana, MPSE, foley artist, Jeffrey Wilhoit, MPSE, sound effects editor, Bryan Celano, sound effects editor, Patrick Ginn, sound effects editor, Bill Munyon, sound effects editor, Scott Wolf, MPSE, and sound effects editor, Matt Piersall.

For best sound editing for special venue, the award went to Journey To Mecca from SK Films Inc., supervising sound editor, Peter Thillaye, sound designer, Ed Douglas, sound designer, Sue Fawcett, supervising foley editor, Andy Malcolm, supervising dialogue/ADR editor, Fred Brennan, music editor, Richard Henderson, MPSE, foley artist, Andy Malcolm, and foley artist, Goro Koyama.

In the best sound editing for direct to video—live action category, 30 Days of Night, Dark Days from Sony Pictures Home Entertainment won for supervising sound editor, Eric Lalicata, sound designer, Ryan Gegenheimer, supervising foley editor, Matt Beville, supervising dialogue editor, Dhyana Carlton-Tims, music editor, Jaclyn Newman, foley artist, Alex Ullrich, dialogue editor, Dhyana Carlton-Tims, sound effects editor, Ryan Gegenheimer, sound effects editor, Sean Gray ADR editor, John Sanacore, ADR editor, Ryan Young, and sound effects editor, Eryne Prine.

Best sound editing for computer episodic entertainment, went to HBO’s A Drop of True Blood: Sam, supervising sound editor, John Benson, MPSE, dialogue/ADR editor, Jason Krane, MPSE, music editor, Eduardo Ponsdomenech, and sound effects editor, Stuart Martin.

The Verna Fields award in sound editing for student filmmakers went to Stanley Pickle from the National Film and Television School, supervising sound editor, Dario Swade and foley artist, Paula Boram.

It was a fun evening for all, and despite the large number of recipients, the show progressed smoothly and quickly.


Venue:, Bonaventura Hotel, downtown LA.

Parking: By Valet, or self-parking behind the hotel – both discounted.

Food n’ Booze: Cash bar, arugula apple nut salad, mushroom smothered beef medallion and scallops over risotto with asparagus and carrots. Dessert of chocolate mousse with raspberries and blackberries was worthy of seconds.

Swag: Just the program book.

Memorable Line: From George Lucas’ introduction to Walter Murch, “And in his spare time, he did name R2 D2…Reel 2 Dialog 2.”

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