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Latest Sound Editing News


Antoine Fuqua Collaborators Sound Off On Working With Director Ahead Of Golden Reel Honor

Antoine Fuqua, the director behind Training Day, The Equalizer, The Magnificent Seven and Southpaw among other movie hits, is being recognized Sunday by the Motion Picture Sound Editors, who are giving him their Filmmaker Award at the 66th MPSE Golden Reel Awards. Ahead of the ceremony, sound editors Mandell Winter and David Esparza, both frequent collaborators with Fuqua, reflected on working with the music video director-turned-filmmaker. "Antoine uses sound as an… Read


How ‘Bohemian Rhapsody’ Sound Designers John Warhurst & Paul Massey Brought Immediacy To Live Aid Recreation

The sound and music editor and re-recording mixer behind Bohemian Rhapsody, John Warhurst and Paul Massey came to the project with ample experience on music-based films, and still needed time to get their footing, figuring out how this particular one could work. Telling the remarkable true story of Queen frontman Freddie Mercury, the drama follows the band's rise from humble beginnings through their iconic performance at Live Aid in 1985. Given the nature of the story at… Read

Awards News

MaryJo Lang To Receive Cinema Audio Society’s President’s Award

Foley mixer MaryJo Lang will be the recipient of the Cinema Audio Society's President's Award, which will be presented during the 55th annual CAS Awards on February 16 at the InterContinental Los Angeles Downtown. The award is presented at the discretion of the CAS president to an individual "who has been dedicated to the advancement of sound." It was last given out in 2010. "In the world of Foley mixing, MaryJo Lang has been a force of nature," said CAS president Mark Ula… Read


Motion Picture Sound Editors Reveal 2019 Golden Reel Nominations

Now hear this: The Motion Picture Sound Editors guild is out with the nominees for its 66th annual Golden Reel Awards, which honor sound artists and their contributions to the past year's most outstanding feature film, TV, animation and computer entertainment productions. Trophies in 23 categories will be doled out during the February 18 ceremony at the Westin Bonaventure Hotel in Los Angeles. "Sound artists continue to push boundaries for artistry and technical… Read


For ‘Roma’, The Sounds Are As Important To Alfonso Cuarón As The Images – Watch The Featurette


EXCLUSIVE: Netflix’s Roma was built from the memories of its writer-director Alfonso Cuarón during his childhood in Mexico City. Those memories are as much of sounds as they are of visuals, according to the filmmaker, who along with his sound gurus explain in a new behind-the-scenes featurette. The pic has been working its way through awards season since its Golden Lion win at Venice and is a surefire Oscar contender, and is up for three Golden Globes on Sunday. “The… Read


‘First Man’ Sound Editors Capture Neil Armstrong’s Journey To The Moon With Authentic, Evocative Palette

After collaborating with Damien Chazelle on La La Land to the tune of three Oscar nominations, sound editors Ai-Ling Lee and Mildred Morgan embarked on a transformative odyssey with First Man, which defied their preconceptions of how sound might manifest in a big-budget space drama. Scripted by Josh Singer, Chazelle's latest would dive into the psychology and potently immersive experiences of Neil Armstrong, the first man to step foot on the moon. Knowing the degree to… Read


Motion Picture Sound Editors Cue Up Stephen H. Flick For Career Honor

The Motion Picture Sound Editors has set supervising sound editor Stephen H. Flick to receive of its 2018 MPSE Career Achievement Award. The honor will be presented February 17 during the 66th annual MPSE Golden Reel Awards in Los Angeles. A two-time Sound Editing Oscar winner for Speed (1995) and Robocop (1988) — the latter being a Special Academy Award — Flick has worked on more than 150 films and TV shows over four decades. He also scored Oscar noms for PoltergeistDie… Read


‘A Quiet Place’ Sound Editors Discuss Their Moments Of Creative Doubt & Vindication — Production Value Video Series

On examination of those behind the filmic curtain—creating the sonic palette through which to feel a world—any number of descriptors seem to apply. Magicians, wizards and puppet masters who have trained themselves in the art of emotional manipulation, sound editors are too often among those craftsmen and women taken for granted, when the reality is that no film could function, or pull the audience in toward the screen, without their dedicated, passionate work. The… Read


‘Altered Carbon’ Sound Editor Brett Hinton On Sonic Clues Taken From Richard K. Morgan’s Sci-Fi Novel

For supervising sound editor Brett Hinton—a bona fide world builder behind Mr. Mercedes, Westworld and Laeta Kalogridis' cyberpunk wonder Altered Carbon—God is in the details. With the latter series, Hinton brought life to the dystopian megalopolis of Bay City, as seen in the year 2384. His take on the future was carefully considered, and the most minute details were often those that were most difficult to render. Adapted from Richard K. Morgan's meticulously crafted 2002… Read


‘The Shape Of Water’ Sound Teams On The Sonic Dimension To Creature Creation

Elegantly designed and impeccably shot, Guillermo del Toro's The Shape of Water would need a strong, immersive sonic experience to cross the finish line, ending up as it did with 13 Oscar nominations in the strongest showing for any film this year. Set primarily within 1960s Baltimore laboratories, this romantic fantasy between a fish-man and a mute janitor would require not only period accuracy in its depiction of its central locations, but also a believable… Read


Sound Designer Julian Slater On His “Lightning In A Bottle” Moment With Sound-Centric ‘Baby Driver’

Julian Slater

In Baby Driver, his fifth collaboration with writer-director Edgar Wright, sound designer Julian Slater found perhaps the greatest challenge of his career that was also his greatest opportunity: a cinematic vehicle that was all about sound. Ever since 2004's Shaun of the Dead, Slater had become accustomed to Wright's desires to push boundaries with cinema, with awe-inspiring images and the sound to back them up. In Baby Driver—a film where sound is a character in its own… Read