Features

Oscar-Worthy Film Editors: 2016

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. […]

Features

Oscar’s Favorite Sound Editors: 2015

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). […]

Features

What Does A Wormhole Sound Like?

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.

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Features

John Roesch: MPSE 2013 Career Achievement Award

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.
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