Aviator & The Incredibles Top 2004 Golden Reel Awards
THE AVIATOR and THE INCREDIBLES took the top feature and animated film sound editing award categories at the 52nd Annual Golden Reel Awards, doled out by the Motion Picture Sound Editors on Feb. 26, 2005, at the Century Plaza Hotel in Los Angeles. The Golden Reel Awards acknowledge the year's best work in the various areas of sound editing.
JIMMY NEUTRON fro Salami Studios won for a second consecutive year for Sound Editing in TV Animation, while the crew at Hacienda Post won for a second consecutive year in Sound Editing in Direct To Video for BIONICLE II: LEGENDS OF METRU NUI.
LOST won two awards – Sound Effects editing in Shortform Television, and Dialogue/ADR Editing in Shortform Television. CSI MIAMI won for Sound Effects Editing in Longform Television.
The Verna Fields Award for Sound Editing in a Student Film went to Emma Meaden, from the National Film & Television School in London for LLOYD IN THE CORNER. This year, Associated Production Music underwrote the $1000 Ethel Crutcher Scholarship Fund for this award.
Not as many awards were given out in other categories of animation this year due to a lack of entries.
Richard Hymns presented Gary R. Rydstrom, who won a Golden Reel last year for his work on FINDING NEMO, with the Career Achievement Award. Rydstrom was reverent and the most entertaining throughout his acceptance. He said, “Now I can look people in the eye and say, ‘Back off. I have a Lifetime Achievement Award.!’”
Rydstrom has received numerous nominations and awards for his sound work, including six Golden Reels, two Cinema Audio Society Awards, five TEC awards, two British Academy Awards and seven Oscars from Best Sound and Best Sound Editing.
He studied film at USC, where professor Ken Miura recommended him to Lucasfilm 20 years ago. Rydstrom described the impact of working there, which eventually sub-divided into Skywalker Sound, “Where revolution is status quo and the best work is achieved in unusual ways.” He was given a chance to cut sound on a tree monster. He tried hard to impress his boss, Don Hunt, who told him the sound was great but was even better run backwards.
Rydstrom thanked three directors in particular, “Steven Spielberg for making his crew always look great; James Cameron, who pushes everyone to their limits and Robert Redford, who talked to my parents on the phone.” He explained his parents never quite understood if he did something important in filmmaking, “until they talked to Bob on the phone.”
He also thanked John Lasseter, “My favorite collaborator, for allowing me to make a movie for the first time in 27 years.” Rydstrom recently left Skywalker Sound to join Pixar Animation Studios as a first-time director on a film. “When I lecture to kids interested in a fast track to directing, I tell them to check out sound,” he quipped. “I will carry this award to Pixar to bully my way around and get what I want!”
Rydstrom told AWN he preferred cutting sound on animated movies because the editor has total control; he can create the sound from scratch. “You’re not limited by what has been recorded on the set. You have a blank slate from which you can create,” he said.
After watching a montage of the many groundbreaking films of George Lucas, recipient of the Inaugural Filmmaker’s Award, his presenter, Walter Murch said, “When you see these films, you see the infinite echoes of what George brought to those projects.” He commended Lucas for the pioneering concept that sound editors should start at the beginning of project along with the film editors, instead of coming in during the final stages.
Murch and Lucas attended USC film school. He and his animation classmates were astounded when he saw Lucas’ student animation film in 1965, LOOK AT LIFE. “It blasted the classroom back, kinda like that guy in the chair in the Maxell ad. At that moment, we realized he had changed the nature of what you could do with film.”
JIMMY NEUTRON fro Salami Studios won for a second consecutive year for Sound Editing in TV Animation, while the crew at Hacienda Post won for a second consecutive year in Sound Editing in Direct To Video for BIONICLE II: LEGENDS OF METRU NUI.
LOST won two awards – Sound Effects editing in Shortform Television, and Dialogue/ADR Editing in Shortform Television. CSI MIAMI won for Sound Effects Editing in Longform Television.
The Verna Fields Award for Sound Editing in a Student Film went to Emma Meaden, from the National Film & Television School in London for LLOYD IN THE CORNER. This year, Associated Production Music underwrote the $1000 Ethel Crutcher Scholarship Fund for this award.
Not as many awards were given out in other categories of animation this year due to a lack of entries.
Richard Hymns presented Gary R. Rydstrom, who won a Golden Reel last year for his work on FINDING NEMO, with the Career Achievement Award. Rydstrom was reverent and the most entertaining throughout his acceptance. He said, “Now I can look people in the eye and say, ‘Back off. I have a Lifetime Achievement Award.!’”
Rydstrom has received numerous nominations and awards for his sound work, including six Golden Reels, two Cinema Audio Society Awards, five TEC awards, two British Academy Awards and seven Oscars from Best Sound and Best Sound Editing.
He studied film at USC, where professor Ken Miura recommended him to Lucasfilm 20 years ago. Rydstrom described the impact of working there, which eventually sub-divided into Skywalker Sound, “Where revolution is status quo and the best work is achieved in unusual ways.” He was given a chance to cut sound on a tree monster. He tried hard to impress his boss, Don Hunt, who told him the sound was great but was even better run backwards.
Rydstrom thanked three directors in particular, “Steven Spielberg for making his crew always look great; James Cameron, who pushes everyone to their limits and Robert Redford, who talked to my parents on the phone.” He explained his parents never quite understood if he did something important in filmmaking, “until they talked to Bob on the phone.”
He also thanked John Lasseter, “My favorite collaborator, for allowing me to make a movie for the first time in 27 years.” Rydstrom recently left Skywalker Sound to join Pixar Animation Studios as a first-time director on a film. “When I lecture to kids interested in a fast track to directing, I tell them to check out sound,” he quipped. “I will carry this award to Pixar to bully my way around and get what I want!”
Rydstrom told AWN he preferred cutting sound on animated movies because the editor has total control; he can create the sound from scratch. “You’re not limited by what has been recorded on the set. You have a blank slate from which you can create,” he said.
After watching a montage of the many groundbreaking films of George Lucas, recipient of the Inaugural Filmmaker’s Award, his presenter, Walter Murch said, “When you see these films, you see the infinite echoes of what George brought to those projects.” He commended Lucas for the pioneering concept that sound editors should start at the beginning of project along with the film editors, instead of coming in during the final stages.
Murch and Lucas attended USC film school. He and his animation classmates were astounded when he saw Lucas’ student animation film in 1965, LOOK AT LIFE. “It blasted the classroom back, kinda like that guy in the chair in the Maxell ad. At that moment, we realized he had changed the nature of what you could do with film.”
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