Contender – Makeup And Hair Designer Lesley Vanderwalt, Mad Max: Fury Road

When writer-director George Miller rekindled his Mad Max franchise with the 2015 film, Mad Max: Fury Road, with the first of the films having been produced 36 years ago, he knew he would need to mix the classic elements of the series while bringing audiences a 21st century experience. Makeup and hair designer Lesley Vanderwalt, speaking from Sydney, Australia, noted that she had sufficient background experience for the new project as she had also worked as makeup supervisor on the second film, The Road Warrior, in 1981. […]


Directors Mark Burton and Richard Starzak Excel in Non-Verbal Dialog in Shaun The Sheep Movie

The world of stop-motion animation is, given the labor-intensive production process, one suited to only the most dedicated practitioners. On Aardman AnimationsShaun the Sheep, co-directors Mark Burton and Richard Starzak shared the workload, combining Burton’s background in comedy writing and Starzak’s experience in animation on Aardman’s previous productions. He accepts freely that “Animation has been what I’ve wanted to do all my life, ever since I was a child. I got into it 30 years ago and it’s always been my thing.” As with many specialists in the field, Starzak “wasn’t qualified as such. I did a fine art degree, but I discovered animation while I was doing that degree. I started to look for work, and Aardman seemed like a good bet.” […]

Art Direction

Contender – Production Designer Yohei Taneda, The Hateful Eight

If it would seem unlikely that studios would release two westerns at Christmas time, it might be unlikelier still that both would belong to that smaller sub-genre of “snow westerns.” Yet both The Revenant and Quentin Tarantino’s The Hateful Eight find themselves in that same unique niche occupied by such under sung classics as Sergio Corbucci’s The Great Silence and Robert Altman’s McCabe and Mrs. Miller. […]


Contenders – Sound Mixers/Editors Chris Jenkins, Nicholas Renbeck, Eugene Gearty and Edward Tise, Love & Mercy

The lines between genius and madness blur inside the mind of Brian Wilson as he’s portrayed in director Bill Pohlad’s Beach Boys biopic Love & Mercy, distributed by Roadside Attractions. Using sound, the film paints a beautiful and discordant picture of what Wilson hears in his head – the music and mania that make the man. Love & Mercy splits Wilson’s life into two distinct parts, the young Brian of the ’60s (played by Paul Dano) in the time surrounding the “Pet Sounds” album, and the middle-aged Brian of the ’80s (played by John Cusack) who struggles daily with reality. The two parts interweave like one of Wilson’s vocal harmonies, giving the audience an idea of how Wilson ended up over-medicated and socially subjugated by the imperious Dr. Landy, who controls everything from what Brian eats to who he talks to. […]


Contender – Sound Mixer Chris Jenkins, Mad Max: Fury Road

When rerecording mixer Chris Jenkins got a call from music composer Tom Holkenborg about working on Mad Max: Fury Road, saying yes, was the easy part. But what took place over the following months was a collaboration the mixer won’t soon forget. “When Tom asked me if I was interested in being part of the project, he had been already working with George Miller on music themes for over a year,” said Jenkins. “George’s first Mad Max film was mind-blowing. Everyone loved it, so when Tom reached out, I knew this was going to be a once in lifetime opportunity.” Jenkins ended up flying to Sydney where he met up with Holkenborg, picture editor Margaret Sixel, and the rest of the team. Along with rerecording mixer Gregg Rudolf, they spent nearly 10 weeks at Deluxe in Lane Cove before returning to Warner Bros. to finalize the film. […]