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. Youre 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 Filmmakers 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.
He acknowledged Lucas for being the first to think of film music as an album (AMERICAN GRAFFITI), setting the standard for film sound (THX) when there wasnt any; and making the EditDroid and SoundDroid, forerunners of tools now considered standard in post-production.
In film school, Murch competed with Lucas for a placement at Warner Bros. They made a pact that whoever won would help the other one along. Lucas, who wanted to pursue animation, landed at WB just as it was closing its animation department down, so he attached himself to Francis Ford Coppola. When they moved their families up to San Francisco to create films at American Zoetrope, Murch and his wife joined Lucas and Coppola with a truck packed with the editing equipment they had managed to scrounge up together.
Lucas went on to start Lucasfilm, Pixar (he later sold to Steve Jobs), ILM and Skywalker Sound, all spurring numerous innovations. For his impact and dedication to sound, the MPSE dedicated its first Filmmakers Award to Lucas.
Lucas repeated his claim that sound is 50% of the motion picture experience and went on to thank sound editors for often inspiring his creativity as a picture editor. He lamented that, Sound is given short shrift in the reel world. The work would be so much better if sound editors could start at the same time as the picture starts. He told the attendees to pursue sound, and filmmaking, only if you love it. I cant imagine any other reason to get into it.
And the winners were
Best Sound Editing in Feature Film: Animated
Supervising Sound Editor: Michael Silvers, Randy Thom
Supervising Foley Editor: Suzanne Fox
Sound Effects Editors: Terry Eckton, MPSE, Kyrsten Mate, E. J. Holowicki
ADR Editor: Steve Slanec
Foley Editor: Al Nelson
Music Editor: Stephen M. David
Best Sound Editing in Feature Film: Sound Effects and Foley
Supervising Sound Editors: Eugene Gearty, Philip Stockton, MPSE
Supervising Foley Editor: Frank Kern
Sound Effects Editor: Wyatt Sprague
Foley Editors: Kam Chan, Steve Visscher, Jacob Ribicoff
Music Editing in a Feature Film
THE PASSION OF THE CHRIST
Supervising Music Editor: Michael T. Ryan, MPSE
Dialogue/ADR Editing in a Feature Film
ETERNAL SUNSHINE OF THE SPOTLESS MIND
Supervising Sound Editor: Philip Stockton, MPSE
Sound Designer: Eugene Gearty
Supervising Dialogue Editor: Philip Stockton, MPSE
Supervising ADR Editor: Marissa Littlefield
Dialogue Editor: Fred Rosenberg
ADR Editor: Hal Levinsohn, MPSE
Sound Editing in a Feature Film (Foreign)
HOUSE OF FLYING DAGGERS
Supervising Sound Editors: Roger Savage, Tao Jing, MPSE
Supervising Foley Editor: Jo Mion
Supervising ADR Editor: Wang Yu Hong
Sound Editors: Steve Burgess, Vic Kaspar, MPSE, Ron Feruglio, Paul Pirola, Andrew Neil, Glenn Newnham
Foley Editors: Mario Vaccaro, Blair Slater
Music Editing in a Musical Feature
Music Editor: Curt Sobel
Sound Effects/Foley Editing in Longform TV
CSI: MIAMI "Crime Wave"
Supervising Sound Editor: Ann Hadsell
Sound Designer: Bradley C. Katona, MPSE
Supervising Foley Editor: Ruth Adelman, MPSE
Sound Effects Editors: Bill Smith, Edmond Coblentz
Foley Editor: Bill Smith
Music Editing in Longform TV Tie
A CHRISTMAS CAROL, THE MUSICAL
Supervising Music Editor: Joanie Diener, MPSE
Scoring Editor: Joanie Diener, MPSE
THE MYSTERY OF NATALIE WOOD
Music Editors: Allan K. Rosen, MPSE, Nick Viterelli
Dialogue/ADR Editing in Longform TV
THE LIFE AND DEATH OF PETER SELLERS
Supervising Sound Editor: Tim Hands
Supervising Dialogue Editor: Victoria Brazier
Supervising ADR Editor: Victoria Brazier
Dialogue Editors: Laura Lovejoy, Zack Davis, MPSE
ADR Editors: Anna MacKenzie, Zack Davis, MPSE
Sound Effects/Foley Editing in Shortform TV
LOST "Pilot Part One"
Supervising Sound Editors: Thomas de Gorter, MPSE, Trevor Jolly
Sound Effects Editors: Paul Menichini, MPSE, Roland Thai, MPSE, Marc Glassman
Music Editing in Shortform TV
SEX AND THE CITY "An American Girl in Paris (Part Deux)"
Supervising Music Editor: Dan Lieberstein
Music Editor: Missy Cohen
Dialogue/ADR Editing in Shortform TV
LOST "Pilot Part One"
Supervising Sound Editors: Thomas E. de Gorter, MPSE, Trevor Jolly
Supervising Dialogue Editor: Christopher Reeves, MPSE
Dialogue Editors: Gabrielle Reeves, Troy Allen
ADR Editor: Troy Allen
Sound Editing in TV Animation
THE ADVENTURES OF JIMMY NEUTRON BOY GENIUS
Supervising Sound Editors: Jason Stiff, Gary Falcone
Supervising Foley Editor: Jeff Kettle
Supervising Dialogue Editor: Michael Petak
Supervising ADR Editor: Justin Brinsfield
Music Editor: Charlie Brisette
Sound Effects Editor: Paul Menichini, MPSE
Dialogue Editor: Tom Maydeck, CAS
ADR Editor: Michelle Smith
Foley Editor: Tom Maydeck, CAS
Sound Editing in Computer Entertainment
GOLDEN EYE: ROGUE AGENT
Supervising Sound Editors: Paul Menichini, MPSE, Gregory Allen
Supervising Foley Editor: Erik Kraber
Music Editors: Gregory Allen, Tony Alvarez
Sound Editors: David Farmer, MPSE, Ann Scibelli, MPSE, Tim Nielsen, Roland Thai, MPSE, Mark Allen, MPSE, Derek Vander Horst, Shane Kneip, Jon Tendrich
Dialogue Editor: Jeremy Hall
Sound Editing in Direct To Video
BIONICLE II: LEGENDS OF METRU NUI
Supervising Sound Editors: Timothy J. Borquez, MPSE, Roy Braverman
Supervising Dialogue Editor: Eric Freeman, MPSE
Supervising ADR Editor: Doug Andorka
Music Editor: Timothy J. Borquez, MPSE
Sound Effects Editors: Tom Syslo, Jeff Hutchins, Brian Mars, Mark Howlett, Paul Menichini, MPSE, Gordon Hookailo, Michael Geisler, MPSE, Daisuke Sawa, Mark Mailand
Foley Editor: Jason Freedman, MPSE
Sound Editing in Special Venue
NASCAR 3D: THE IMAX EXPERIENCE
Supervising Sound Editor: Peter Thillaye
Sound Designer: Ed Douglas
Supervising Foley Editor: Andy Malcolm
Supervising Dialogue Editor: Joe Mancuso
Supervising ADR Editor: Peter Thillaye
Music Editors: Will Kaplan, Andre Knecht
Sound Effects Editors: Chris Miller, Karl Mohr
For a complete list of winners and more information go to www.mpse.org