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HomeAwardsThe 57th MPSE Golden Reel Awards

The 57th MPSE Golden Reel Awards

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The Motion Picture Sound Editors Guild held its 57th annual Golden Reel Awards, Feb. 20, at the Bonaventure Hotel in downtown Los Angeles. Aside from a bit of a parking SNAFU, the show went off without a hitch, and considering the sheer number of recipients, the evening went by fairly fast. MPSE president Bobbi Banks kicked off the gala event and acknowledged the evening’s sponsors.

Gary Rydstrom, sound designer/re-recording mixer extraordinaire, was called on to introduce the winner of the 2010 MPSE Filmmaker Award, director Steven Spielberg. He told a number of anecdotal stories about Spielberg, for instance, when Spielberg first saw the “T-Rex attack scene” from Jurassic Park, he began jumping up and down on top of his seat. Rydstrom attributed this behavior to great visual effects, superb sound design and a lawyer being eaten by a dinosaur. Spielberg on the other hand, quipped that many key scenes in his films are spoiled by his knowledge of what made the sounds in reality. The “opening of the ark” sound in Indiana Jones was actually sound designer Ben Burt opening his toilet tank lid at home.

Also honored that night was the 2010 MPSE Career Achievement Recipient, Larry Singer, MPSE, who was the first ADR supervisor to receive the award. Some of the films he worked on include Back to the Future, Little Mermaid, When Harry Met Sally, The Color Purple, Amistad, Empire of the Sun, Misery, The River Wild and A.I.: Artificial Intelligence.

The top feature film honors went to Avatar for Best Sound Effects and Foley in a Feature Film.  Supervising sound editor/sound designers Addison Teague and Chris Boyes, supervising foley editor Luke Dunn Glelmuda, foley editor Jim Likowski, sound effects editors Ken Fischer, Shannon Mills, Tim Nielsen and Chris Scarabosio, and foley artists Dennie Thorpe and Jana Vance received the award. Supervising music editor Jim Henrikson, and music editors Dick Bernstein and Michael Bauer took another Golden Reel for Best Music in a Feature Film

The Award for Best Dialogue and ADR in a Feature Film went to the gritty Inglorious Bastards’ supervising sound editor Wylie Stateman, supervising dialogue editor Margit Pfeiffer, supervising ADR editor Gregg Baxter, and dialogue/ADR editor Nancy Nugent Title.

Not too surprisingly, Best Music in a Musical Feature Film, went to the Michael Jackson documentary This Is It and supervising music editors Michael Prince, Ryan Rubin and Scott Stambler.

Up won for Best Sound Effects, Foley, Music, Dialogue and ADR in a Feature Film Animation. The crew included supervising sound editor Michael Silvers, supervising sound editor/sound designer Tom Myers, supervising foley editor Pascal Garneau, music editor Stephen M. Davis, MPSE, sound effects editors Al Nelson, J.R. Grubbs and Teresa Eckton, MPSE, foley editor Jonathan Null, ADR editor Steve Slanec, and foley artists Jana Vance and Dennie Thorpe.

In the Foreign Feature Film category, District 9 won Golden Reels for supervising sound editors Brent Burge and Chris Ward, sound designer Dave Whitehead, sound effects editors Hayden Collow and Melanie Graham, dialogue/ADR editors Polly McKinnon and Justin Webster, ADR editors Jason Canovas and Mark Franken, foley editor Craig Tomlinson, and foley artists Robyn McFarlane and Carolyn McLaughlin.

In the Television Category, Supervising Sound Editors Daniel Colman, MPSE and Jack Levy and supervising dialogue/ADR editor Vince Balunas took home the award for their work on Battlestar Galactica, “Daybreak, Part 2” for Long Form Dialogue and ADR. The show also garnered Colman, Levy and supervising foley editor Sam C. Lewis, foley artists Doug Madick and Richard Partlow an award for Best Sound Effects and Foley.

House M.D., “Epic Fail” won for Long Form Sound Effects and Foley with supervising sound editor/sound designer Bradley North, sound designer and sound effects editor Luis Galdames, supervising foley editor Craig Rosevear, foley editor Harry Woolway, MPSE, and foley artists Michael Lyle and Paul Stevenson garnering the Golden Reel.

Supervising music editor Michael Dittrick and music editor Ben Zales won the award for Long Form Music in TV for Spectacular!

The Best Sound Effects, Foley, Dialogue, ADR and Music in TV Animation award went to The Penguins Of Madagascar “What Goes Around” with supervising sound editors Paulette Victor Lifton and James Ian Lifton, sound designer Ian Nyeste, supervising foley editor Aran Tanchum, supervising dialogue editor Michael Petak, supervising ADR editor Jason Stiff, music editor Dominick Certo, MPSE, foley artist Vincent Guisetti, dialogue editor Oliver Pearce, foley editor Matt Hall, dialogue & music editor D.J. Lynch, and sound effects editor Lawrence Reyes all taking home the award.

The thriller True Blood “Beyond Here Lies Nothin – #212” won for Short Form Dialogue and ADR in Television. Supervising sound editor and supervising dialogue/ADR editor John Benson, MPSE and sound editors Christian Buenaventura and Jason Krane took home the prize.

Music Editor David Klotz got a Golden Reel in the Short Form Music category for the popular Glee, “Pilot”.

The Direct-to-Video award went to “Something, Something, Something, Darkside” with supervising sound editor Bob Newlan, MPSE, sound designer Andrew Ellerd, music editor Stan Jones, foley artist Dale Perry, dialogue editors Patrick Clark and Mark Eklund, sound effects editor Brian Nichols and music editor Doug Lackey all receiving a statue.

The Best Sound Editing in Computer Entertainment was garnered by Uncharted 2: “Among Thieves.” Supervising sound editors Mark Jasper, MPSE and Bruce Swanson, sound designers Phillip Kovats and Lydian Tone, MPSE, supervising dialogue/ADR editor Elizabeth Johnson, sound effects editors Mark Camperell, Tom Hays and Chris Pinkston, MPSE and foley artist Cynthia Merrill.

And finally, the Verna Fields Award in Sound for Editing Student Filmmakers went to Scarecrow from USC with supervising sound editors Patrick Knipe and Paul Fonarev getting the prize and the check.

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