“There were several gun battles and a serious rocky fall that contained no traditionally scored music. The absence of music allowed our sound effects and Foley to take the soundtrack’s exclusive and full dynamic range.” – Wylie Stateman […]
During the past 35 years, Randy Thom, CAS, MPSE, has helped define the creative art of sound for feature films, and has been an inspiration to colleagues and assistants alike. Thom is this year’s recipient of the MPSE Career Achievement Award from the Motion Picture Sound Editors, which was presented at its 61st annual Golden Reel Awards, held at the Westin Bonaventure Hotel in Los Angeles February 16. […]
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.
Re-recording mixer Andy Nelson, CAS, brings to his craft several decades of experience in the art of balancing dialogue, music and sound effects in an immersive soundtrack that supports the director’s storytelling vision […]
The smooth operation of a post facility depends upon the skills of a well-staffed engineering department to ensure that editors and mixers can work efficiently to create a film/TV soundtrack. In order to throw an inquisitive spotlight on the roles played by a number of leading “unsung heroes” from our industry — who work behind the scenes to ensure minimum downtime — CineMontage reached out to Brian Bair from 20th Century Fox Post-Production Services, Steve Boze from Walt Disney Studios, Kevin Collier from Warner Bros. Studio Facilities, Bill Johnston and Charlie Campagna from Formosa Group/Audio Head, and Michael Novitch from Technicolor at Paramount. […]
Have you seen Laurel and Hardy do exactly the same skit in both a silent and a sound version? Was it actually the quality of John Gilbert’s voice that doomed his career in the talkies? What beloved classic movie used Fantasound? Why did editors resist changing from optical to magnetic sound? […]
The films of this year’s Oscar nominees in the Sound Editing category range from the story of a run-and-hide rebellion in post-apocalyptic Australia, to emergent threats to galactic peace, through an astronaut left behind on Mars by his crew, a frontiersman fighting for survival after a bear attack, and the unrelenting war on drugs. […]
ADR/Foley mixer Jesse Dodd, CAS, MPSE, never doubted that her career would be in show biz. […]
The Editor’s Guild Newsletter talked to Steven Mark just as he was embarking on ‘X-Files: Millennium.’ […]
Among his other major credits of the year, Greg King created the myriad sounds for Michael Mann’s ‘The Insider.’ […]
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