This year’s Oscar nominees for Best Editing explore the economic collapse of Wall Street in 2008 as a black comedy; return to an iconic post-apocalyptic world, as well as a galaxy, far, far away; go on a metaphysical journey in the frozen wilderness; and provide an inside glimpse of The Boston Globe’s Pulitzer Prize–winning coverage of the Catholic Church sex scandal cover-up. […]
Music Editor Ramiro Belgardt is no stranger to the Star Wars saga. He got in just in time to work on 2005’s Revenge of the Sith, the last of the prequel trilogy, which was supposed to be the end of the franchise. […]
Drone warfare “is not only topical, or even controversial; it’s something that many of us are ambivalent about. […]
This year’s Oscar nominees for Best Sound Editing transport us to three very distinct war zones (American Sniper, The Hobbit: The Battle of the Five Armies, Unbroken), take us for a roller-coaster ride inside a wormhole and a black hole (Interstellar), and put us in the mindset of a has-been movie star going out of his mind (Birdman). […]
It’s not surprising that director Christopher Nolan drove the sound to a greater extent than ever before on his first space adventure, Interstellar, opening November 7 through Paramount Pictures. That’s because it was pivotal that the organic nature of the aesthetic worked for soundscape and imagery alike.
What’s fascinating about ‘The CG Story’, therefore, is the realization that live action has become more like animation and vice-versa. […]
Greg Hayden was worried that the story might not be as interesting when the fantasies ended. But he was pleased when the opposite happened, and he worked diligently on maintaining a balance between fantasy and reality. […]
“Before Sunrise was the second film I edited for Rick, and it was also the first film I ever cut on an Avid… I was confronted with the challenge of starting right in on the cut with Rick and learning to use the Avid at the same time. It was an interesting few weeks at first!” – Sandra Adair, A.C.E. […]
The first Foley artist to receive the Motion Picture Sound Editors’ (MPSE) Career Achievement Award, Foley artist John Roesch has contributed to over 400 movies in the last four decades, including — to name a very few — Raiders of the Lost Ark (1981), E.T.: The Extra-Terrestrial (1982), Back to the Future (1985), Unforgiven (1992), The Matrix (1999) and The Dark Knight Rises (2012), the latter for which he received two MPSE Golden Reel Awards nominations as part of the film’s sound editing team. He was presented the award acknowledging his career accomplishments at the MPSE’s 60th annual Golden Reel Awards on February 17.
[…]
“There it was, ticking after 150 years, and we recorded it. We were able to use that during the few, brief moments where Lincoln was actually handling his watch.” – Ben Burtt […]
©2016-2021 Motion Picture Editors Guild
