The Motion Picture Sound Editors handed out their awards in a virtual ceremony with Pixar’s “Soul, “Tenet” and “Greyhound” among the winners.
The Mpse also awarded “The Trial of the Chicago 7” for outstanding achievement in sound editing – feature dialogue / Adr, and outstanding achievement in sound editing – feature musical went to “Eurovision Song Contest: The Story of the Fire Saga.”
All the films have received Oscar nominations in numerous categories, with “Greyhound” and “Soul” nominated in the newly combined best sound category.
The Golden Reel Awards, recognizing outstanding achievement in sound editing, were presented in 22 categories encompassing feature films, long-form and short-form television, animation, documentaries, games, special venue and other media.
Academy Award-winning re-recording mixer Chris Jenkins presented the Mpse Filmmaker Award to “Mad Max” director George Miller.
The Mpse Career Achievement Award went to supervising sound editor Dennis Drummond, Drummond’s award was accepted by his brother, Patrick Drummond.
The Mpse also awarded “The Trial of the Chicago 7” for outstanding achievement in sound editing – feature dialogue / Adr, and outstanding achievement in sound editing – feature musical went to “Eurovision Song Contest: The Story of the Fire Saga.”
All the films have received Oscar nominations in numerous categories, with “Greyhound” and “Soul” nominated in the newly combined best sound category.
The Golden Reel Awards, recognizing outstanding achievement in sound editing, were presented in 22 categories encompassing feature films, long-form and short-form television, animation, documentaries, games, special venue and other media.
Academy Award-winning re-recording mixer Chris Jenkins presented the Mpse Filmmaker Award to “Mad Max” director George Miller.
The Mpse Career Achievement Award went to supervising sound editor Dennis Drummond, Drummond’s award was accepted by his brother, Patrick Drummond.
- 4/17/2021
- by Jazz Tangcay
- Variety Film + TV
“Tenet,” “Eurovision Song Contest,” “The Trial of the Chicago 7” and “Greyhound” have won feature-film awards at the Motion Picture Sound Editors Mpse Golden Reel Awards, which took place on Friday evening in a virtual event.
The Mpse divides the art of sound editing into several different categories, with “Tenet” winning for underscore, “Eurovision Song Contest” for music, “The Trial of the Chicago 7” for dialogue/Adr and “Greyhound” for effects/foley.
In the past, the last of those categories has most closely corresponded to the Academy Award for Best Sound Editing — but that Oscar category was merged with the Best Sound Mixing category into a single Best Sound category this year. “Greyhound” is nominated in that category, along with “Soul,” “Mank,” “News of the World” and “Sound of Metal.”
“Soul” won for sound editing in an animated feature, while “The Eight Hundred” won for a foreign-language feature and “The Reason I Jump...
The Mpse divides the art of sound editing into several different categories, with “Tenet” winning for underscore, “Eurovision Song Contest” for music, “The Trial of the Chicago 7” for dialogue/Adr and “Greyhound” for effects/foley.
In the past, the last of those categories has most closely corresponded to the Academy Award for Best Sound Editing — but that Oscar category was merged with the Best Sound Mixing category into a single Best Sound category this year. “Greyhound” is nominated in that category, along with “Soul,” “Mank,” “News of the World” and “Sound of Metal.”
“Soul” won for sound editing in an animated feature, while “The Eight Hundred” won for a foreign-language feature and “The Reason I Jump...
- 4/17/2021
- by Steve Pond
- The Wrap
When Carlos Rafael Rivera was an aspiring film composer and Scott Frank’s guitar teacher in 2005, the writer-director shared the Western script he was working on as a feature, and they discussed the score. “He read me a very dark scene with this evil Frank Griffin reading by the fireside, and we discussed the moment being built around C major,” he said. “And that was it.”
Later, after Rivera scored Frank’s 2014 feature “A Walk Among the Tombstones,” Rivera prepared to score that feature in the form of a seven-part Netflix mini-series, “Godless” — and decided the best score for the scene was none at all. “When that scene came up, and I was actually writing to picture, I wrote this music that had a Bernard Herrmann influence,” he said. “We ended up using no music because the performance was so good by Jeff Daniels.”
The length and scope of “Godless...
Later, after Rivera scored Frank’s 2014 feature “A Walk Among the Tombstones,” Rivera prepared to score that feature in the form of a seven-part Netflix mini-series, “Godless” — and decided the best score for the scene was none at all. “When that scene came up, and I was actually writing to picture, I wrote this music that had a Bernard Herrmann influence,” he said. “We ended up using no music because the performance was so good by Jeff Daniels.”
The length and scope of “Godless...
- 7/3/2018
- by Bill Desowitz
- Indiewire
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