“Bohemian Rhapsody” followed up love from Cinema Audio Society sound mixers with a pair of honors at the Motion Picture Sound Editors’ 66th annual Golden Reel Awards Sunday night. The musical biopic scored wins for dialogue and Adr as well as sound editing in a musical.
The film is nominated for sound editing at the Oscars along with “First Man” and two other films that received Golden Reel Awards: “A Quiet Place” and “Roma.”
“Spider-Man: Into the Spider-Verse” also received a pair of awards.
TV prizes went to FX’s “The Americans” and “Atlanta,” Amazon’s “The Marvelous Mrs. Maisel,” HBO’s “Westworld” and Netflix’s “Altered Carbon.”
There were a pair of ties: In feature documentary, “Free Solo” and “They Shall Not Grow Old” locked horns. For episodic short form music/musical work, “American Horror Story: Apocalypse” and “Vikings” ended up in a dead heat.
Director Antoine Fuqua received the Mpse’s filmmaker award,...
The film is nominated for sound editing at the Oscars along with “First Man” and two other films that received Golden Reel Awards: “A Quiet Place” and “Roma.”
“Spider-Man: Into the Spider-Verse” also received a pair of awards.
TV prizes went to FX’s “The Americans” and “Atlanta,” Amazon’s “The Marvelous Mrs. Maisel,” HBO’s “Westworld” and Netflix’s “Altered Carbon.”
There were a pair of ties: In feature documentary, “Free Solo” and “They Shall Not Grow Old” locked horns. For episodic short form music/musical work, “American Horror Story: Apocalypse” and “Vikings” ended up in a dead heat.
Director Antoine Fuqua received the Mpse’s filmmaker award,...
- 2/18/2019
- by Kristopher Tapley
- Variety Film + TV
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 novel—which contained an impossibly complicated universe within its pages—Altered Carbon wasn’t a project that lent itself to easy decision-making or unchallenged assumptions.
Hinton’s struggle with the sci-fi series is perhaps best exemplified in his concerted efforts to bring a new take to the futuristic police siren. “I feel like the best future police siren ever is the Minority Report police siren,” Hinton reflects. “It’s been my life goal to...
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 novel—which contained an impossibly complicated universe within its pages—Altered Carbon wasn’t a project that lent itself to easy decision-making or unchallenged assumptions.
Hinton’s struggle with the sci-fi series is perhaps best exemplified in his concerted efforts to bring a new take to the futuristic police siren. “I feel like the best future police siren ever is the Minority Report police siren,” Hinton reflects. “It’s been my life goal to...
- 6/19/2018
- by Matt Grobar
- Deadline Film + TV
Generally, horror film scores don’t really do much to distinguish themselves within the genre. That’s why composer Austin Wintory knew when he started working on the score for Paul Solet’s Grace that he needed to do something different.
Wintory’s distinctive film scoring approach is one part of the Grace puzzle and his work joins the highly collaborative effort from everyone involved on the film. It’s that collective passion that undoubtedly was responsible for getting Grace accepted into the 2009 Sundance Film Festival.
“I generally think of horror movie scores as ‘vacuum cleaner’ scores,” said Wintory. “Lately, the trend has been where they just sound grungy or noisy and I wanted Grace to sound distinctive and refreshing.”
Wintory fell in love with movie soundtracks around the age of 10 when he started taking piano lessons. Rather than getting stuck with the average “by the books” piano teacher, he...
Wintory’s distinctive film scoring approach is one part of the Grace puzzle and his work joins the highly collaborative effort from everyone involved on the film. It’s that collective passion that undoubtedly was responsible for getting Grace accepted into the 2009 Sundance Film Festival.
“I generally think of horror movie scores as ‘vacuum cleaner’ scores,” said Wintory. “Lately, the trend has been where they just sound grungy or noisy and I wanted Grace to sound distinctive and refreshing.”
Wintory fell in love with movie soundtracks around the age of 10 when he started taking piano lessons. Rather than getting stuck with the average “by the books” piano teacher, he...
- 1/26/2009
- by thehorrorchick
- DreadCentral.com
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