Wow. Leaving the Samuel Goldwyn Theater on Wilshire last night I couldn't help feel inspired, The Science and Technology Council of AMPAS presented a show called The Sound Behind the Image. Kevin O'Connell, re-recording mixer and 19 time oscar nominee was the MC and introduced Ben Burtt one of the first people to coin the term sound designer, who took us on an informative and exciting tour of the history of sound in action adventure films arriving at star wars where he expanded upon some of his experiences while on the working on the film. After Ben's solo presentation Burtt, O'Connell and almost all the re-recording mixers from the star wars trilogy, arguably the most influential few films in the world of sound, sat down on stage to rap about their experiences and journeys while finishing those soundtracks. Its amazing to think about how far our craft has come in 30 years, all in all a tremendous event highlighting some of the great pioneers of our community. The Academy is planning more of these, I can only hope that they help the rest of the academy and with any luck some of the general public understand how much creativity and effort go into what they hear while in a darkened theater. Hopefully, events like this that can attract broad audiences with the academy's reach, so filmmakers and audiences alike can discover how important a quality soundtrack is to the storytelling process. Bravo to the sci tech council, way to toe the mark!
Hi All,
Just wanted to take the time to explain the purpose and goal of this blog. I started this in hopes of creating something that focused on feature post sound, showcasing all the talented people and world class facilities that often are faceless entities or job titles in the finishing of films. I found it strange that other post production disciplines press release their involvement but sound, for the most part, remains a mystery. Internet hype is everywhere for upcoming films, but rarley does sound get the attention it deserves. To change this paradigm, awareness and recognition are paramount. So, I view this blog as a more extensive, sound only imdb.com: a one-stop shop for all things film-sound including, but not exclusive to info on the dubbing stage(s), and scoring stage(s) used, as well pictures, mini-bios of the supervising sound editor(s), re-recording mixer(s), production sound mixer(s) and composer(s). I do understand that with this kind of endeavor there is an amount of potential toe stepping involved, so I intend to keep the posts, at least initially, to finished films that already have info available online. I hope that this idea is appealing to fellow colleges and hopefully fan-boys and girls of the internet are already amped up about upcoming films. Obviously, I am trying very hard to post accurate information but any and all comments or corrections are encouraged and appreciated. In addition, I know calling this blog "filmsounddaily" should really entail daily posts. I hope with enough support for this idea I can get the post frequency up to "daily" but until that point it'll be a little more sparse. I hope this blog can evolve into something that will include tech announcements and reviews as well as interviews with crew members and maybe even op-ed pieces, but again, all of that will come with interest and time. If you would like to get in touch with me I have a link to my email in the sidebar; please spread the word, suggest anything you would like to see on this thing, and hopefully, "...If we do our jobs well and throw in a little evangelizing, we can make sound as important part of filmmaking as it should be."-Gary Rydstrom
Enjoy,
Filmsounddaily.com
In a summer of sequels "Shrek the Third" rides into theathers May 18th. Bringing that CG created fairytale world to life, let alone sound funny are Richard L. Anderson, Thomas Jones Supervising Sound Editors, Anna Behlmer, Andy Nelson Re-recording mixers, and Harry Gregson-Williams Composer. Animated soundtracks have always lent an enhanced level of creative license, and though the majority of feature releases replace most production sound with foley and/or sound effects, every single auditory event are left to the sound editors, mixers, and composers to design from scratch. Richard L. Anderson and Thomas Jones are no strangers to animation, co-sound souping Dreamworks' "Over the Hedge" and "Flushed Away" over the last two years. Anderson just received the "career achievement award" at this years MPSE Golden Reel awards for his work on everything from "Raiders of the Lost Arc" to "Being John Malkovich". Andy Nelson and Anna Behlemer coming off back to back sound mixing oscar nods for ""War of the Worlds" and "Blood Diamond" respectively, mixed the film at Fox's Howard Hawks dub stage, one of the three feature stages located on the Centery City lot. Harry Gregson-Williams returns to the swamp having scored the first 2 shreks. As Tony Scott's go to guy, Williams has scored all of Scott's features since 1998's "Enemy of the State". Though I do not have confirmation of this, I believe the score was tracked ar Air Studio's in London, being that almost all of the most recent Dreamworks animated films including "Shrek 2" were scored there...
FOX HOWARD HAWKS STAGE
SUPERVISING SOUND EDITOR: Richard L. Anderson
SUPERVISING SOUND EDITOR: Thomas Jones
RE-RECORDING MIXER: Anna Behlmer
RE-RECORDING MIXER: Andy Nelson
COMPOSER: Harry Gregson-Williams
RE-RECORDING MIXER: Scott Millan
ORIGINAL MUSIC: Loudon Wainwright III
