Oppenheimer, Maestro, Spider-Man: Across the Spider-Verse and Society of the Snow were the big film winners at the Motion Picture Sound Editors‘ 71st Golden Reel Awards, which were handed out Sunday night at the Wilshire Ebell Theatre in Los Angeles. See the full list below.
Academy Award front-runner Oppenheimer from Universal took both marquee movie prizes — Outstanding Achievement in Sound Editing – Feature Dialogue/Adr and Feature Effects/Foley, — while fellow Best Picture Oscar nominee Maestro from Netflix won for Music Editing for a Feature Motion Picture.
Sony’s Animated Feature Oscar hopeful Spider-Man: Across the Spider-Verse, hot off dominating the Annie Awards, took the prize for Outstanding Achievement in Sound Editing – Feature Animation. And Society of the Snow went home with the Foreign Language Feature trophy.
Related: ASC Awards: ‘Oppenheimer’ Takes Film Prize – Full Winners List
“What makes this event so special is that we come together from around...
Academy Award front-runner Oppenheimer from Universal took both marquee movie prizes — Outstanding Achievement in Sound Editing – Feature Dialogue/Adr and Feature Effects/Foley, — while fellow Best Picture Oscar nominee Maestro from Netflix won for Music Editing for a Feature Motion Picture.
Sony’s Animated Feature Oscar hopeful Spider-Man: Across the Spider-Verse, hot off dominating the Annie Awards, took the prize for Outstanding Achievement in Sound Editing – Feature Animation. And Society of the Snow went home with the Foreign Language Feature trophy.
Related: ASC Awards: ‘Oppenheimer’ Takes Film Prize – Full Winners List
“What makes this event so special is that we come together from around...
- 3/4/2024
- by Erik Pedersen
- Deadline Film + TV
Oppenheimer prevailed in a pair of categories, while such features as Maestro, Spider-Man: Across the Universe and Society of the Snow also picked up prizes at the 71st Motion Picture Sound Editors Golden Reel Awards.
Hosted by Patton Oswalt, the Mpse ceremony was held Sunday at the Wilshire Ebell Theatre in Los Angeles. Michael Dinner, known for his work as a director, writer and producer on projects including The Wonder Years, Chicago Hope and last year’s Justified: City Primeval, was honored with the Mpse Filmmaker Award. Additionally, Dane A. Davis (The Matrix) received the Career Achievement Award.
In the feature competition, winners included Oppenheimer, for dialogue and Adr, and also for effects and foley; Maestro, for music editing; Society of the Snow, for a foreign language film; and Spider-Man: Across the Spider-Verse, for theatrical animation. For nonfiction filmmaking, 32 Sounds prevailed for sound editing in a documentary, while Pianoforte was...
Hosted by Patton Oswalt, the Mpse ceremony was held Sunday at the Wilshire Ebell Theatre in Los Angeles. Michael Dinner, known for his work as a director, writer and producer on projects including The Wonder Years, Chicago Hope and last year’s Justified: City Primeval, was honored with the Mpse Filmmaker Award. Additionally, Dane A. Davis (The Matrix) received the Career Achievement Award.
In the feature competition, winners included Oppenheimer, for dialogue and Adr, and also for effects and foley; Maestro, for music editing; Society of the Snow, for a foreign language film; and Spider-Man: Across the Spider-Verse, for theatrical animation. For nonfiction filmmaking, 32 Sounds prevailed for sound editing in a documentary, while Pianoforte was...
- 3/4/2024
- by Ryan Gajewski
- The Hollywood Reporter - Movie News
The sound in “Dunkirk” is crucial for this almost-silent, radically structured action movie. And “War for the Planet of the Apes” is also relatively dialogue light–except when Woody Harrelson’s Kurtz-like Colonel and Andy Serkis as Caesar explode in a dramatic face-off. And each time Ryan Gosling’s K in “Blade Runner,” Gal Gadot’s Wonder Woman or Ansel Elgort’s Baby Driver enters a new landscape, the sound design clues us into what’s going on.
Here are our current predictions in alphabetical order. No movie will be deemed a frontrunner until I see it.
Frontrunners:
Will Files (“War for the Planet of the Apes”)
Richard King (“Dunkirk”)
Mark Mangini (“Blade Runner 2049”)
James Mather (“Wonder Woman”)
Julian Slater (“Baby Driver”)
Contenders:
Craig Berkey (“Darkest Hour”)
Richard Hymns (“The Post”)
Eric A. Norris, Steven Ticknor (“Spider-Man: Homecoming”)
Warren Shaw (“Beauty and the Beast”)
Donald Sylvester (“Logan”)
Matthew Wood...
Here are our current predictions in alphabetical order. No movie will be deemed a frontrunner until I see it.
Frontrunners:
Will Files (“War for the Planet of the Apes”)
Richard King (“Dunkirk”)
Mark Mangini (“Blade Runner 2049”)
James Mather (“Wonder Woman”)
Julian Slater (“Baby Driver”)
Contenders:
Craig Berkey (“Darkest Hour”)
Richard Hymns (“The Post”)
Eric A. Norris, Steven Ticknor (“Spider-Man: Homecoming”)
Warren Shaw (“Beauty and the Beast”)
Donald Sylvester (“Logan”)
Matthew Wood...
- 11/19/2017
- by Anne Thompson
- Indiewire
Hollywood’s sound pros nominated Birdman and Dawn of the Planet of the Apes for three awards apiece as the Motion Picture Sound Editors unveiled nods for its 62nd Mpse Golden Reel Awards, honoring the best feature film, television, animation and computer entertainment work of the year.
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
- 1/14/2015
- by Jen Yamato
- Deadline
Arsenic is intertwined with new lace in this contemporary chiller starring Carol Kane as a mousy office worker who goes on a killing rampage. Coated with a shivery edge and fractured with a mordant outlook, this 81-minute psychological horror ditty will likely have its surest life as a Midnight Madness-type entity, as it did during its presentation at the Toronto International Film Festival.
The odd action here takes place in the cramped confines of a consumer weekly as the editorial staff faces not only the vicissitudes of downsizing but endures the tempestuous inconsistencies of its vampish editor in chief. Morale is not exactly high. As in most places, the real work gets done by a few individuals who get little or no credit, while the remainder of the staff contributes, mainly, to interpersonal drama.
In this setting, it's Dorine (Kane), a selfless, taciturn longtime employee who quietly goes about accomplishing far more than is expected and appreciated. Dorine is shy to the point of making everyone else uneasy; at their kindest, her office mates leave her alone, or, at worst, backstab her. Overall, Dorine tolerates the backstabbing, but what gets her really nettled is when the office downsizes and she is put on part-time status and "allowed" to work at home via computer. While many workers would consider this a good deal, Dorine feels ostracized and unwanted. Indeed, being alone with her invalid mother all day is no picnic.
Pushed to the edge by one too many late-night assignments, she is horrified by the accidental electrocution of one of the most odious employees. (He was trying to figure out the new computers -- can you relate?) What Dorine is most horrified about is not his death but the mess he has made. This gets her going, and she begins to kill off the rest of the staff, taking them home and propping them up in the living room. Viewers without concrete stomachs are not likely to endure director Cindy Sherman's gruesome graphics. To Sherman's credit, the stylization fits the peculiarities of the story line (Elise MacAdam, Tom Kalin), and the film is fittingly swatched in a creepy glow.
The players are well-selected. Kane is archly scary as the nondescript loony, while Molly Ringwald is a perfect pain as one of the more immature employees. Jeanne Tripplehorn is an apt bundle of insecurities as an Ivy League woman on the ups, while Barbara Sukowa is aptly vulgar as a vampire-ish editor.
The technical contributions are solid with Evan Lurie's luridly drained music being the high point.
OFFICE KILLER
Miramax International
Good Machine/Kardana-Swinsky Films/Good Fear
Producers Christine Vachon, Pamela Koffler
Director Cindy Sherman
Screenwriters Elise MacAdam, Tom Kalin
Director of photography Russell Fine
Editor Merril Stern
Production designer Kevin Thompson
Music Evan Lurie
Sound mixers Eliza Paley, Paul P. Soucek
Color/stereo
Cast:
Dorine Carol Kane
Kim Molly Ringwald
Norah Jeanne Tripplehorn
Editor-in-chief Barbara Sukowa
Running time -- 81 minutes...
The odd action here takes place in the cramped confines of a consumer weekly as the editorial staff faces not only the vicissitudes of downsizing but endures the tempestuous inconsistencies of its vampish editor in chief. Morale is not exactly high. As in most places, the real work gets done by a few individuals who get little or no credit, while the remainder of the staff contributes, mainly, to interpersonal drama.
In this setting, it's Dorine (Kane), a selfless, taciturn longtime employee who quietly goes about accomplishing far more than is expected and appreciated. Dorine is shy to the point of making everyone else uneasy; at their kindest, her office mates leave her alone, or, at worst, backstab her. Overall, Dorine tolerates the backstabbing, but what gets her really nettled is when the office downsizes and she is put on part-time status and "allowed" to work at home via computer. While many workers would consider this a good deal, Dorine feels ostracized and unwanted. Indeed, being alone with her invalid mother all day is no picnic.
Pushed to the edge by one too many late-night assignments, she is horrified by the accidental electrocution of one of the most odious employees. (He was trying to figure out the new computers -- can you relate?) What Dorine is most horrified about is not his death but the mess he has made. This gets her going, and she begins to kill off the rest of the staff, taking them home and propping them up in the living room. Viewers without concrete stomachs are not likely to endure director Cindy Sherman's gruesome graphics. To Sherman's credit, the stylization fits the peculiarities of the story line (Elise MacAdam, Tom Kalin), and the film is fittingly swatched in a creepy glow.
The players are well-selected. Kane is archly scary as the nondescript loony, while Molly Ringwald is a perfect pain as one of the more immature employees. Jeanne Tripplehorn is an apt bundle of insecurities as an Ivy League woman on the ups, while Barbara Sukowa is aptly vulgar as a vampire-ish editor.
The technical contributions are solid with Evan Lurie's luridly drained music being the high point.
OFFICE KILLER
Miramax International
Good Machine/Kardana-Swinsky Films/Good Fear
Producers Christine Vachon, Pamela Koffler
Director Cindy Sherman
Screenwriters Elise MacAdam, Tom Kalin
Director of photography Russell Fine
Editor Merril Stern
Production designer Kevin Thompson
Music Evan Lurie
Sound mixers Eliza Paley, Paul P. Soucek
Color/stereo
Cast:
Dorine Carol Kane
Kim Molly Ringwald
Norah Jeanne Tripplehorn
Editor-in-chief Barbara Sukowa
Running time -- 81 minutes...
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