Meyerson momentarily stopped thinking of scores like songs for one of his most personally significant projects: writer-director Terrence Malick’s World War II drama ‘The Thin Red Line,’ released by 20th Century Fox in December 1998. […]
The Academy of Motion Picture Arts and Sciences has extended invitations to join the organization to 928 artists and executives from 59 countries — including 37 Editors Guild members in good standing — who have distinguished themselves by their contributions to theatrical motion pictures […]
The period during which the newsletter circulated was a critical and tumultuous one for movie sound. It was clear to all that digital would ultimately replace multi-track analog, but no one knew when, or in what format. […]
From the beginning of his film career in the early 1950s, filmmaker Robert Altman has utilized sound in unorthodox and spontaneous ways. […]
Some excerpts from a panel of sound effects professionals. […]
With the clarity of hindsight,perhaps the Academy can find a way to single out those films of past years that may have been unjustly overlooked.
They say brevity is the soul of wit, and scoring mixers seem to have a sense of humor about what their job entails. “We get coffee for the composer. End of inter- view,” Alan Meyerson jokes. Well, not so fast. […]
My mother, father, aunt and uncles were all in the teachers union. I learned from an early age how unions can help us make our lives better. […]
The producers see the character of Dexter as having different, sonically distinct modes of operation; that drives their creative decisions. […]
I was preparing for a career in Foley. Whether I was imitating a birdcall that I heard during recess or pantomiming the rhythm of Miss Brady’s heels clip-clopping down the hall, I’ve always had a heightened awareness of sound and movement. […]
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