Ahead of the 2021 Oscars, the academy made the decision to merge the Best Sound Editing and Best Sound Mixing categories into one. The films vying for the second annual Best Sound prize are “Belfast,” “Dune,” “No Time to Die,” “The Power of the Dog,” and “West Side Story.” Our current odds indicate that “Dune” (31/10) will be victorious, followed in order of likelihood by “West Side Story” (39/10), “No Time to Die” (4/1), “The Power of the Dog” (9/2), and “Belfast” (9/2).
The craftspeople included in the current lineup have collectively amassed a staggering 86 previous nominations and 16 wins for their sound work in 57 films. Those responsible for the largest chunks are Andy Nelson and Gary Rydstrom, whose shared bid for “West Side Story” brings their respective individual totals to 22 and 19. Rydstrom has collected seven trophies over the years, including two each for “Terminator 2: Judgment Day” (1992), “Jurassic Park” (1994), and “Saving Private Ryan” (1999) and one for...
The craftspeople included in the current lineup have collectively amassed a staggering 86 previous nominations and 16 wins for their sound work in 57 films. Those responsible for the largest chunks are Andy Nelson and Gary Rydstrom, whose shared bid for “West Side Story” brings their respective individual totals to 22 and 19. Rydstrom has collected seven trophies over the years, including two each for “Terminator 2: Judgment Day” (1992), “Jurassic Park” (1994), and “Saving Private Ryan” (1999) and one for...
- 3/23/2022
- by Matthew Stewart
- Gold Derby
Updated March 21: “Dune” got two big boosts with Mpse and Cas wins, bolstering its Oscar chances on Sunday. The sci-fi epic took feature effects/foley at the virtual 69th annual Mpse Golden Reel Awards on March 13, and then live-action sound mixing at the 58th annual Cinema Audio Society Awards at the InterContinental Los Angeles Downtown.
Updated February 11: The sound Oscar nominees — “Belfast” (Focus Features), “Dune” (Warner Bros.), “No Time to Die” (MGM/UA), “West Side Story” (20th Century/Disney), and “The Power of the Dog” (Netflix) — provide a range of imaginative soundscapes that connect to the personal stories in fresh ways.
However, the sonic power and complexity of Denis Villeneuve’s “Dune” is going to be hard to beat. Its great achievement is creating a grounded reality that is both innovative and believable. So, rather than relying on over-hyped sounds, the sound team conveyed an otherworldly palette that is hallucinatory yet gritty,...
Updated February 11: The sound Oscar nominees — “Belfast” (Focus Features), “Dune” (Warner Bros.), “No Time to Die” (MGM/UA), “West Side Story” (20th Century/Disney), and “The Power of the Dog” (Netflix) — provide a range of imaginative soundscapes that connect to the personal stories in fresh ways.
However, the sonic power and complexity of Denis Villeneuve’s “Dune” is going to be hard to beat. Its great achievement is creating a grounded reality that is both innovative and believable. So, rather than relying on over-hyped sounds, the sound team conveyed an otherworldly palette that is hallucinatory yet gritty,...
- 3/22/2022
- by Bill Desowitz
- Indiewire
The Oscar-frontrunner “Dune” (Warner Bros.), “Nightmare Alley” (Searchlight Pictures), and “West Side Story” (20th Century Studios) each won sound editing feature awards Sunday night at the 69th annual Mpse Golden Reel Awards (held virtually). “Dune” took feature effects/foley, “Nightmare Alley,” a non-Oscar nominee and surprise winner over “Dune” and “No Time to Die,” snagged feature dialogue/Adr, and Oscar nominee “West Side Story” collected feature music. The other Oscar sound nominees are “Belfast” (Focus Features), “No Time to Die” (MGM/UA), and “The Power of the Dog” (Netflix).
There were other surprises: Disney’s “Raya and the Last Dragon” triumphed in animation over the studio’s Oscar-frontrunner, “Encanto,” which has won a slew of guild awards, and “The Rescue” (Disney+) took feature documentary over Oscar-frontrunner “Summer of Soul” (Searchlight Pictures). Additionally, “Cliff Walkers” (Viki) earned foreign language honors, and “Infinite” (Paramount +) grabbed non-theatrical feature.
On the TV side, “Succession,...
There were other surprises: Disney’s “Raya and the Last Dragon” triumphed in animation over the studio’s Oscar-frontrunner, “Encanto,” which has won a slew of guild awards, and “The Rescue” (Disney+) took feature documentary over Oscar-frontrunner “Summer of Soul” (Searchlight Pictures). Additionally, “Cliff Walkers” (Viki) earned foreign language honors, and “Infinite” (Paramount +) grabbed non-theatrical feature.
On the TV side, “Succession,...
- 3/14/2022
- by Bill Desowitz
- Indiewire
For the acclaimed sound team behind Steven Spielberg’s “West Side Story” – including frequent Spielberg collaborators and Oscar winners like supervising sound editor and re-recording mixer Gary Rydstrom, re-recording mixer Andy Nelson, and scoring mixer Shawn Murphy, all of whom were recently nominated by the Cinema Audio Society for their work in the film – the challenges of creating the musical were vast. The group, which also included production mixer Tod A. Maitland, had to not only make the transitions between dialogue and song sound uniform but account for numerous musical numbers large and small. But while sequences such as the show-stopping “America” had challenges, it was Rita Moreno’s emotional take on “Somewhere” that proved to be the biggest high-wire act.
SEEPaul Tazewell interview: ‘West Side Story’ costume designer
“In a lot of ways, ‘Somewhere’ was one of the most difficult because it was a mostly live vocal, it was...
SEEPaul Tazewell interview: ‘West Side Story’ costume designer
“In a lot of ways, ‘Somewhere’ was one of the most difficult because it was a mostly live vocal, it was...
- 1/27/2022
- by Christopher Rosen
- Gold Derby
“When you’re doing movie musicals, you’re involved about six weeks ahead of time so you are infused into the community of filmmakers,” says Netflix’s “tick, tick… Boom!” production sound mixer Tod A. Maitland about the integral role he plays on musical films. “I just love movie musicals, I think that it’s a great energy on set,” he continues, noting how due to the nature of song, “I am a much more integral part of the process.” Watch our exclusive video interview above.
One of the benefits of having such early involvement in the production is Maitland’s ability to “choose microphones for the actors.” “I actually do a whole test with the actors with lavalier microphones and find the one that matches best to my boom microphone and then that microphone matches best to the studio microphone,” he shares. On “tick, tick… Boom!” in particular, Maitland...
One of the benefits of having such early involvement in the production is Maitland’s ability to “choose microphones for the actors.” “I actually do a whole test with the actors with lavalier microphones and find the one that matches best to my boom microphone and then that microphone matches best to the studio microphone,” he shares. On “tick, tick… Boom!” in particular, Maitland...
- 12/10/2021
- by David Buchanan
- Gold Derby
'JFK' movie with Kevin Costner as Jim Garrison 'JFK' assassination movie: Gripping political drama gives added meaning to 'Rewriting History' If it's an Oliver Stone film, it must be bombastic, sentimental, clunky, and controversial. With the exception of "clunky," JFK is all of the above. It is also riveting, earnest, dishonest, moving, irritating, paranoid, and, more frequently than one might expect, outright brilliant. In sum, Oliver Stone's 1991 political thriller about a determined district attorney's investigation of the assassination of U.S. president John F. Kennedy is a slick piece of propaganda that mostly works both dramatically and cinematically. If only some of the facts hadn't gotten trampled on the way to film illustriousness. With the exception of John Williams' overemphatic score – Oliver Stone films need anything but overemphasis – JFK's technical and artistic details are put in place to extraordinary effect. Joe Hutshing and Pietro Scalia's editing...
- 5/15/2015
- by Andre Soares
- Alt Film Guide
Normally, by mid-November, we have a pretty good idea of many of the likely nominees in most of the crafts categories. But in this year's race for Best Sound Mixing, I see things as extremely open — there's not a single film that strikes me as assured of a spot and more than a dozen appear to have very good chances. That makes for an exciting race. This category awards the overall mix of dialogue, music, effects and "everything else" into a film's soundtrack. This is different than sound editing, which recognizes the creation and editing of artificial sound effects. Being a leading Best Picture contender can certainly help a film's chances in mixing (seen in "The Social Network," "The King's Speech" and "Moneyball" in recent years), as can being a war film, a musical or a respected (or even not-so-respected) blockbuster. There are also certain mixers who score very regularly indeed.
- 11/20/2014
- by Gerard Kennedy
- Hitfix
Tod Maitland, Dennis Maitland, Norman Jewison at the 45th Cinema Audio Society Awards Production Sound Mixer Dennis L. Maitland, who collaborated with the likes of John Cassavetes, Barbra Streisand, Sydney Pollack, Paul Mazursky, Norman Jewison, Herbert Ross, Paul Newman, John Huston, Tim Burton, Bob Fosse, Sidney Lumet, and Arthur Hiller, died in New York City on March 31. Maitland was 79. A veteran of more than 80 feature films and a number of television shows, Maitland was given the Cinema Audio Society’s Career Achievement Award in 2009. Among his feature-film credits are The Prince of Tides, Three Days of the Condor, Husbands, The Hospital, The Pawnbroker, Lenny, Gloria, …And Justice for All, Moonstruck, and Mars Attacks!. Additionally, Maitland also worked as a music mixer for Miles Davis, Frank Sinatra, Count Basie, The Beatles, Duke Ellington, Ella Fitzgerald, Sarah Vaughn, and the philharmonic orchestras of New York, Boston, Berlin, Philadelphia and Montreal. On [...]...
- 4/2/2011
- by Andre Soares
- Alt Film Guide
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