Exclusive: Grant Feely (Obi-Wan Kenobi), Connor DeWolfe (The Mighty Ducks: Game Changers) and Mykel Shannon Jenkins (The Paper Tigers) have been tapped for roles alongside Luke Hemsworth, Morgan Freeman and Joseph Baena in the upcoming actioner, Gunner.
The film from writer-director Dimitri Logothetis (Jiu Jitsu), which is currently shooting in Alabama, follows Special Ops veteran Lee Gunner (Hemsworth) as he takes his two sons on a fishing trip to reconnect. The trip soon turns awry when the boys stumble upon a massive drug running operation and are kidnapped by Dobbs (Jenkins), the son of gang kingpin Kendric Ryker (Freeman) who runs his organization from prison. With no one but himself to retaliate and with elite combat skills they won’t see coming, an enraged Gunner wreaks havoc to rescue his two sons from Ryker’s gang.
Feely is repped by A3 Artists Agency, Aligned Stars and Pkm Talent...
The film from writer-director Dimitri Logothetis (Jiu Jitsu), which is currently shooting in Alabama, follows Special Ops veteran Lee Gunner (Hemsworth) as he takes his two sons on a fishing trip to reconnect. The trip soon turns awry when the boys stumble upon a massive drug running operation and are kidnapped by Dobbs (Jenkins), the son of gang kingpin Kendric Ryker (Freeman) who runs his organization from prison. With no one but himself to retaliate and with elite combat skills they won’t see coming, an enraged Gunner wreaks havoc to rescue his two sons from Ryker’s gang.
Feely is repped by A3 Artists Agency, Aligned Stars and Pkm Talent...
- 4/7/2023
- by Matt Grobar
- Deadline Film + TV
In “Nine Days,” out this Friday in theaters, Winston Duke plays Will, a man who spends his lonely days and nights monitoring the lives of humans on a wall of vintage TV sets inside his home.
Living in a remote desert, Will watches the lives of souls he has chosen to live on Earth, and when one dies, he has to find a new candidate to fill that vacancy.
At the center of the film, director Edson Oda builds Will’s eyes into the world through 30 televisions. “You’re not watching a show, you’re watching somebody’s perspective on the old-fashioned TV tube,” explains Mac Smith, supervising sound designer and sound editor explains.
It was up to Smith along with Brandon Proctor, re-recording mixer, to capture the sound of the environments for Oda. Sound varied from washing dishes to someone riding a bike to someone cooking dinner and listening to music – everyday sounds.
Living in a remote desert, Will watches the lives of souls he has chosen to live on Earth, and when one dies, he has to find a new candidate to fill that vacancy.
At the center of the film, director Edson Oda builds Will’s eyes into the world through 30 televisions. “You’re not watching a show, you’re watching somebody’s perspective on the old-fashioned TV tube,” explains Mac Smith, supervising sound designer and sound editor explains.
It was up to Smith along with Brandon Proctor, re-recording mixer, to capture the sound of the environments for Oda. Sound varied from washing dishes to someone riding a bike to someone cooking dinner and listening to music – everyday sounds.
- 7/29/2021
- by Jazz Tangcay
- Variety Film + TV
In the 1970s Robert Altman and his sound guru Jim Webb challenged the orthodoxy of Hollywood movie sound. By mic’ing dozens of characters inside Altman’s ensemble, the audience’s attention was partially pulled off of just one principal character or storyline. Altman’s dreams of concurrent, over-lapping aural action has, in recent years, started to reach its full potential due to the advent of Dolby Atmos and its principal boundary pushing practitioner: re-recording mixer Skip Lievsay.
Atmos’s ability to place specific sounds in specific speakers (including the ceiling) spread throughout the theater is still viewed in Hollywood as a tool for creating the spectacle of a spaceship flying overhead, but for the auteurs looking to use the tool in new exciting storytelling ways, they often find themselves in Lievsay’s mixing room.
For example, with longtime collaborator Alfonso Cuarón, Lievsay has been granted the time and palette...
Atmos’s ability to place specific sounds in specific speakers (including the ceiling) spread throughout the theater is still viewed in Hollywood as a tool for creating the spectacle of a spaceship flying overhead, but for the auteurs looking to use the tool in new exciting storytelling ways, they often find themselves in Lievsay’s mixing room.
For example, with longtime collaborator Alfonso Cuarón, Lievsay has been granted the time and palette...
- 12/3/2019
- by Chris O'Falt
- Indiewire
Yesterday we shared part one of a podcast conducted with Walter Murch conducted by Glenn Kiser for the Dolby Institute Conversations with Sound Artists series. In this second part, Murch discusses how Apocalypse Now changed the state of film sound, why going to film school could be a good idea, and using sound effects to express a character’s emotional state.
- 1/12/2017
- by Filmmaker Staff
- Filmmaker Magazine - Blog
We’re pleased to be sharing this podcast conversation with legendary editor Walter Murch, conducted by Glenn Kiser and including questions from other leading sound designers including Randy Thom, Gary Rydstrom, and Ren Klyce, for the Dolby Institute Conversations with Sound Artists series. In this first part, he discusses documentaries’ effects on contemporary films, as well as aspects of his work on four of his most famous films: Apocalypse Now, The Conversation, The Godfather and The English Patient. We’ll post part two of the podcast tomorrow.
- 1/11/2017
- by Filmmaker Staff
- Filmmaker Magazine - Blog
The Dolby Institute and the SoundWorks Collection have launched a series of 10 “Conversations with Sound Artists” podcasts, kicking off this week with Randy Thom, Skywalker Sound’s director of sound design. Thom discusses what makes great soundscapes with the Dolby Institute’s Glenn Kiser and the influence of "Apocalypse Now" on modern sound design (listen to a clip below). Thom, a two-time Oscar winner got his break working as one of Walter Murch’s mixing assistants on "Apocalypse Now," and it provides a crucial lesson in teaching the viewer how to listen to sound. Indeed, the film memorably opens with an unforgettable sound: “a ghostly synthesized helicopter,” Thom recalled. As with great visual storytelling, the best sound design provides questions and a sense of mystery. “We don’t understand this ourselves — the filmmakers — you bring your history and your knowledge and your imagination into this,” Thom added. “Here are some clues that we have and.
- 8/26/2015
- by Bill Desowitz
- Thompson on Hollywood
Read More: Coen Brothers to Chair Jury at 68th Cannes Film Festival When it comes to talking about their work with the press, Joel and Ethan Coen aren't the most forthcoming. Close reading of their work can only get us so far -- which is where conversations with key members of the Coens' crew, such as composer Carter Burwell and sound editor Skip Lievsay, can fill in certain gaps by sharing some of their experiences working with the legendary sibling directing duo. Earlier this week as part of the Tribeca Film Festival, Burwell and Lievsay participated in a conversation with Glenn Kiser, the Director of the Dolby Institute. The discussion incorporated screenings of clips from Coen Brothers films that both Burwell and Lievsay had worked on, but the overall arc of the conversation, which we outline below, provided a unique perspective on how sound design plays into the greatness that is a Coen Brothers film.
- 4/25/2015
- by Shipra Harbola Gupta
- Indiewire
New details about Hail, Caesar! — the Coen brothers' upcoming "musical comedy" — have been revealed, thanks to their oft-collaborators: composer Carter Burwell and sound mixer Skip Lievsay. During the "Dolby Institute: The Sound of the Coens" Master Class, part of the 2015 Tribeca Film Festival, Dolby director Glenn Kiser asked the two to describe the early parts of their process with directors Ethan and Joel Coen. Read More Coen Brothers' 'Hail, Caesar!' Gets 2016 Release Date "We're doing one now," said Lievsay of Universal's 2016 release, with an ensemble cast that includes George Clooney, Josh Brolin, Channing Tatum, Ralph
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- 4/21/2015
- by Ashley Lee
- The Hollywood Reporter - Movie News
When most film fanatics think of their favorite films' technical aspects, they think visually: compositions, montage, special effects, and so on. But sound is just as integral to the makeup of a film's environment as images, and the Tribeca Film Festival's recent panel on sound design and music helped illustrate that. Moderated by Glenn Kiser, the director of the Dolby Institute, "Dolby Institute: The Art of Sound Design & Music" took a look at some of the more notable moments in the careers of sound technician Skip Lievsay, a frequent Coen Brothers collaborator who recently won an Oscar for his work on Alfonso Cuaron's "Gravity," and music supervisor Susan Jacobs, known for her work with David O. Russell and Julian Schnabel. Here are a few highlights from the panel. Lievsay on the turning point in "Inside Llewyn Davis". Lievsay’s favorite moment in his latest collaboration with the Coen Brothers...
- 4/21/2014
- by Max O'Connell
- Indiewire
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