HBO’s anthology series “True Detective” is back after five years with a new season that will compete at the 2024 Emmy Awards. This latest installment that premiered in January comes with the subtitle “True Detective: Night Country” and, while still part of the franchise, it’s the first to not have the involvement of creator Nic Pizzolato – other than his executive producer credit. It was instead developed by Issa Lopez who wrote (or co-wrote) and directed all six episodes, and stars Jodie Foster and Kali Reis as detectives in an Alaskan town investigating the disappearance of eight scientists. Let’s re-examine the three previous seasons of “True Detective” at the Emmys – which garnered a combined total of 22 nominations and five wins – to determine possible nominations in categories for the current season.
Here is the complete Emmys history for the first three seasons of “True Detective”:
Season 1 (2014):
Best Drama Series
Nic Pizzolato,...
Here is the complete Emmys history for the first three seasons of “True Detective”:
Season 1 (2014):
Best Drama Series
Nic Pizzolato,...
- 4/1/2024
- by Christopher Tsang
- Gold Derby
Dune, West Side Story and Nightmare Alley were among the big film winners at the Motion Picture Sound Editors’ 69th Golden Reel Awards, which were handed out during a virtual ceremony tonight. See the full list below.
Denis Villeneuve’s Warner Bros epic Dune won for Outstanding Achievement in Sound Editing – Feature Effects/Foley, Guillermo del Toro’s noir remake Nightmare Alley picked up the trophy for
Feature Dialogue/Adr, and Steven Spielberg’s Warner Bros musical redo West Side Story took the Feature Music prize.
Other feature film winners tonight included Disney’s Raya and the Last Dragon (Animation), Greenwich Entertainment’s The Rescue (Documentary) and China’s Cliff Walkers (Foreign Language).
Small-screen Golden Reel winners included HBO’s Succession, Netflix’s The Witcher and Love, Death + Robots, Amazon’s The Underground Railroad, Disney+’s The Beatles Get Back, Paramount+’s Infinite and Hulu’s Only Murders in the...
Denis Villeneuve’s Warner Bros epic Dune won for Outstanding Achievement in Sound Editing – Feature Effects/Foley, Guillermo del Toro’s noir remake Nightmare Alley picked up the trophy for
Feature Dialogue/Adr, and Steven Spielberg’s Warner Bros musical redo West Side Story took the Feature Music prize.
Other feature film winners tonight included Disney’s Raya and the Last Dragon (Animation), Greenwich Entertainment’s The Rescue (Documentary) and China’s Cliff Walkers (Foreign Language).
Small-screen Golden Reel winners included HBO’s Succession, Netflix’s The Witcher and Love, Death + Robots, Amazon’s The Underground Railroad, Disney+’s The Beatles Get Back, Paramount+’s Infinite and Hulu’s Only Murders in the...
- 3/14/2022
- by Erik Pedersen
- Deadline Film + TV
“Dune,” “Nightmare Alley” and “West Side Story” have won the top feature-film awards at the Motion Picture Sound Editors’ 69th annual Mpse Golden Reel Awards, which took place in a virtual ceremony on Sunday night.
“Dune” won in the Feature Effects/Foley category, which over the years has been the Mpse’s most accurate predictor of Oscar success. “Nightmare Alley” won in the Feature Dialogue/Adr category, while “West Side Story” won in the music category.
Other film awards went to “Raya and the Last Dragon” for animation, “The Rescue” for documentary and “Cliff Walkers” for foreign-language feature.
Television winners included “Succession,” “Only Murders in the Building,” “The Underground Railroad,” “The Witcher” and “The Beatles Get Back.”
Director and producer Ron Howard received the Filmmaker Award, while Anthony J. “Chic” Ciccolini III received the Career Achievement Award.
The list of winners:
Feature Dialogue / Adr: “Nightmare Alley”
Supervising Dialogue/Adr Editor:...
“Dune” won in the Feature Effects/Foley category, which over the years has been the Mpse’s most accurate predictor of Oscar success. “Nightmare Alley” won in the Feature Dialogue/Adr category, while “West Side Story” won in the music category.
Other film awards went to “Raya and the Last Dragon” for animation, “The Rescue” for documentary and “Cliff Walkers” for foreign-language feature.
Television winners included “Succession,” “Only Murders in the Building,” “The Underground Railroad,” “The Witcher” and “The Beatles Get Back.”
Director and producer Ron Howard received the Filmmaker Award, while Anthony J. “Chic” Ciccolini III received the Career Achievement Award.
The list of winners:
Feature Dialogue / Adr: “Nightmare Alley”
Supervising Dialogue/Adr Editor:...
- 3/14/2022
- by Steve Pond
- The Wrap
Kristen Stewart, Jamie Dornan, Mahershala Ali, Kirsten Dunst, Jake Gyllenhaal and Javier Bardem were among the stars who came out Saturday to celebrate the contributions of artisan, craft and technical crew members at the 11th annual Hamilton Behind the Camera Awards.
“We seem to get a lot of the attention and the kudos when movies come out but reality is that it’s guys like Haris who do all the work,” said Dornan of Haris Zambarloukos, who was honored with the Cinematographer award for “Belfast.”
Hosted by Yvonne Orji, the “Insecure” star said the Hamilton kudos are not about actors for a change: this time: “We want you to know that we see you, we appreciate you and tonight we applaud you.”
Denis Villeneuve was honored with the Visionary Award for his directorial work in “Dune,” presented by Bardem at the ceremony held at Avalon Hollywood’s Bardot event space.
“We seem to get a lot of the attention and the kudos when movies come out but reality is that it’s guys like Haris who do all the work,” said Dornan of Haris Zambarloukos, who was honored with the Cinematographer award for “Belfast.”
Hosted by Yvonne Orji, the “Insecure” star said the Hamilton kudos are not about actors for a change: this time: “We want you to know that we see you, we appreciate you and tonight we applaud you.”
Denis Villeneuve was honored with the Visionary Award for his directorial work in “Dune,” presented by Bardem at the ceremony held at Avalon Hollywood’s Bardot event space.
- 11/14/2021
- by Jennifer Yuma
- Variety Film + TV
“Belfast” star Jamie Dornan and “Spencer’s” Kristen Stewart are among the star-studded list of presenters and awardees for the 11th Hamilton Behind the Camera Awards.
Dornan will present the cinematographer award to “Belfast’s” Haris Zambarloukos, with Stewart honoring “Spencer” director Pablo Larraín at the 11th annual award ceremony on Nov. 13 at the Avalon theatre in Hollywood. Hosted by “Insecure’s” Yvonne Orji and presented by Hamilton watches and Los Angeles Confidential magazine, the Hamilton Behind the Camera Awards pays tribute to the brilliant behind-the-camera talent of the year’s most acclaimed films, with honorees and presenters selected from projects released during the year or presented at Cannes, Toronto, Venice, and AFI and other prestigious film festivals.
The lineup of films and creatives to be honored include: “Spencer” director Pablo Larraín, presented by Kristen Stewart; “Belfast” cinematographer Haris Zambarloukos, presented by Jamie Dornan; breakthrough director Maggie Gyllenhaal (“The Lost Daughter...
Dornan will present the cinematographer award to “Belfast’s” Haris Zambarloukos, with Stewart honoring “Spencer” director Pablo Larraín at the 11th annual award ceremony on Nov. 13 at the Avalon theatre in Hollywood. Hosted by “Insecure’s” Yvonne Orji and presented by Hamilton watches and Los Angeles Confidential magazine, the Hamilton Behind the Camera Awards pays tribute to the brilliant behind-the-camera talent of the year’s most acclaimed films, with honorees and presenters selected from projects released during the year or presented at Cannes, Toronto, Venice, and AFI and other prestigious film festivals.
The lineup of films and creatives to be honored include: “Spencer” director Pablo Larraín, presented by Kristen Stewart; “Belfast” cinematographer Haris Zambarloukos, presented by Jamie Dornan; breakthrough director Maggie Gyllenhaal (“The Lost Daughter...
- 11/4/2021
- by Angelique Jackson
- Variety Film + TV
In Netflix’s new movie “The Guilty,” Jake Gyllenhaal plays Joe, a street cop demoted to desk duty after an incident gone wrong. We meet him in the early hours of the morning when California is in the midst of another wildfire disaster and Joe is confined to answering 9-1-1 calls. When he receives a call from a kidnapped woman named Emily (Riley Keough), Joe leaps into action. With the film’s action being played out through Joe’s headset, the film’s sound design is placed front and center, acting as the driving force for the story.
Director Antoine Fuqua entrusted his longtime collaborators to build his sound team, including re-recording mixer and sound designer David Esparza and Mandell Winter to serve as supervising sound editors.
Winter explains, “It started with Jake and the cast on set, but all of the callers were remote. It was designed that way because of the pandemic.
Director Antoine Fuqua entrusted his longtime collaborators to build his sound team, including re-recording mixer and sound designer David Esparza and Mandell Winter to serve as supervising sound editors.
Winter explains, “It started with Jake and the cast on set, but all of the callers were remote. It was designed that way because of the pandemic.
- 10/2/2021
- by Shadan Larki
- Variety Film + TV
In “Don’t Breathe 2,” now playing in theaters, Stephen Lang returns as the blind man and former Navy Seal Norman Nordstrom, who is harboring a terrible secret about his wicked ways. He uses his other senses to enhance his abilities, fighting off those who challenge him.
Separated from the home invasion incident that fueled the plot of 2016’s “Don’t Breathe,” this sequel finds Norman once again relying on what he hears to guide him through a night of terror against new criminals looking to take away the young orphaned girl he’s been raising.
As with the first film, as intense as the situation can get, much of the film relies on silence, which can be very difficult to achieve on film, according to supervising sound editor Mandell Winter. “You want to strip out the unwanted noise from production, and a lot of times, it means using Adr [Automated Dialogue Replacement] to help sell that.
Separated from the home invasion incident that fueled the plot of 2016’s “Don’t Breathe,” this sequel finds Norman once again relying on what he hears to guide him through a night of terror against new criminals looking to take away the young orphaned girl he’s been raising.
As with the first film, as intense as the situation can get, much of the film relies on silence, which can be very difficult to achieve on film, according to supervising sound editor Mandell Winter. “You want to strip out the unwanted noise from production, and a lot of times, it means using Adr [Automated Dialogue Replacement] to help sell that.
- 8/16/2021
- by Aaron Neuwirth
- Variety Film + TV
With 97 Emmys set to be given out over the two-night Creative Arts ceremony, it can be easy to forget that the silos the Television Academy creates for awards purposes belie the need for crafts departments to collaborate as much as possible to create a successful show.
Ask even casually, and artisans at just about every stage of production will stop to acknowledge their crew, co-workers and the departments whose work intertwines with their own. For double Emmy-nommed sound editor Mandell Winter, the producers, director and film editor are his closest collaborators. He works with them to get a careful understanding of what sounds are needed for a project. He also talks with other sound editors to ensure whatever they need makes it to the mixing stage and is part of the overall editorial process, making adjustments as needed.
“It’s really important to have an understanding of how long it takes to do certain things,...
Ask even casually, and artisans at just about every stage of production will stop to acknowledge their crew, co-workers and the departments whose work intertwines with their own. For double Emmy-nommed sound editor Mandell Winter, the producers, director and film editor are his closest collaborators. He works with them to get a careful understanding of what sounds are needed for a project. He also talks with other sound editors to ensure whatever they need makes it to the mixing stage and is part of the overall editorial process, making adjustments as needed.
“It’s really important to have an understanding of how long it takes to do certain things,...
- 9/12/2019
- by Karen Idelson
- Variety Film + TV
“It was a very surreal morning,” reveals supervising sound editor Mandell Winter, who turned out to be a double-Emmy contender when nominations were announced on July 16. “I was not expecting it at all.” The audio veteran is competing against himself for Best Sound Editing (Movie/Mini) for “Deadwood: The Movie” and “True Detective,” so he’ll “have speeches for both and will double-check” the envelope should he win. Watch our exclusive video interview with Winter above.
See Daniel Minahan interview: ‘Deadwood: The Movie’ director
Set 10 years after the events of its third season, “Deadwood: The Movie” finds saloon-keep Al Swearengen (Ian McShane) and Sheriff Seth Bullock (Timothy Olyphant) once again battling against millionaire George Hearst (Gerald McRaney). Winter had never worked on the show before, but the crew “wanted it to sound familiar” to fans. However, “we were given the directive to make it a larger scale, to make it feel more like a movie.
See Daniel Minahan interview: ‘Deadwood: The Movie’ director
Set 10 years after the events of its third season, “Deadwood: The Movie” finds saloon-keep Al Swearengen (Ian McShane) and Sheriff Seth Bullock (Timothy Olyphant) once again battling against millionaire George Hearst (Gerald McRaney). Winter had never worked on the show before, but the crew “wanted it to sound familiar” to fans. However, “we were given the directive to make it a larger scale, to make it feel more like a movie.
- 8/13/2019
- by Zach Laws
- Gold Derby
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 important storytelling element, often putting the audience in the middle of the action,” said Winter, who has worked with Fuqua on six films including the upcoming documentary What’s My Name: Mohammed Ali. “He wants clarity in the track, but more than anything, he looks to the emotion of the scene.”
Said Esparza, another member of Fuqua’s regular team: “He loves a rich and detailed track and wants it to have a strong point of view. A dangerous location should sound dangerous.
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 important storytelling element, often putting the audience in the middle of the action,” said Winter, who has worked with Fuqua on six films including the upcoming documentary What’s My Name: Mohammed Ali. “He wants clarity in the track, but more than anything, he looks to the emotion of the scene.”
Said Esparza, another member of Fuqua’s regular team: “He loves a rich and detailed track and wants it to have a strong point of view. A dangerous location should sound dangerous.
- 2/16/2019
- by Amanda N'Duka
- Deadline Film + TV
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