Jeff Wexler Posted January 22, 2009 Report Share Posted January 22, 2009 THE CURIOUS CASE OF BENJAMIN BUTTON David Parker, Michael Semanick, Ren Klyce and Mark Weingarten ACADEMY AWARDS HISTORY This is the fifth Academy Award nomination for David Parker. He was previously nominated for: THE BOURNE ULTIMATUM (2007) -- Winner, Sound Mixing PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL (2003) -- Nominee, Sound Mixing THE ENGLISH PATIENT (1996) -- Winner, Sound NEVER CRY WOLF (1983) -- Nominee, Sound Including his other nomination this year for Sound Mixing for WALL-E, this is the seventh Academy Award nomination for Michael Semanick. He was previously nominated for: RATATOUILLE (2007) -- Nominee, Sound Mixing KING KONG (2005) -- Winner, Sound Mixing THE LORD OF THE RINGS: THE RETURN OF THE KING (2003) -- Winner, Sound Mixing THE LORD OF THE RINGS: THE TWO TOWERS (2002) -- Nominee, Sound THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001) -- Nominee, Sound This is the second Academy Award nomination for Ren Klyce. He was previously nominated for: FIGHT CLUB (1999) -- Nominee, Sound Effects Editing This is the first Academy Award nomination for Mark Weingarten. THE DARK KNIGHT Lora Hirschberg, Gary Rizzo and Ed Novick ACADEMY AWARDS HISTORY This is the first Academy Award nomination for Lora Hirschberg. This is the second Academy Award nomination for Gary Rizzo. He was previously nominated for: THE INCREDIBLES (2004) -- Nominee, Sound Mixing This is the second Academy Award nomination for Ed Novick. He was previously nominated for: SPIDER MAN (2002) -- Nominee, Sound SLUMDOG MILLIONAIRE Ian Tapp, Richard Pryke and Resul Pookutty ACADEMY AWARDS HISTORY These are the first Academy Award nominations for Ian Tapp, Richard Pryke and Resul Pookutty. WALL-E Tom Myers, Michael Semanick and Ben Burtt ACADEMY AWARDS HISTORY This is the first Academy Award nomination for Tom Myers. Including his other nomination this year for Sound Mixing for THE CURIOUS CASE OF BENJAMIN BUTTON, this is the seventh Academy Award nomination for Michael Semanick. He was previously nominated for: RATATOUILLE (2007) -- Nominee, Sound Mixing KING KONG (2005) -- Winner, Sound Mixing THE LORD OF THE RINGS: THE RETURN OF THE KING (2003) -- Winner, Sound Mixing THE LORD OF THE RINGS: THE TWO TOWERS (2002) -- Nominee, Sound THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001) -- Nominee, Sound Including his nomination this year for Sound Editing for WALL-E, this is the eleventh Academy Award nomination for Ben Burtt. He was previously nominated for: STAR WARS EPISODE I: THE PHANTOM MENACE (1999) -- Nominee, Sound Effects Editing SPECIAL EFFECTS (1996) -- Nominee, Documentary (Short Subject) INDIANA JONES AND THE LAST CRUSADE (1989) -- Nominee, Sound INDIANA JONES AND THE LAST CRUSADE (1989) -- Winner, Sound Effects Editing WILLOW (1988) -- Nominee, Sound Effects Editing RETURN OF THE JEDI (1983) -- Nominee, Sound RETURN OF THE JEDI (1983) -- Nominee, Sound Effects Editing E.T. THE EXTRA TERRESTRIAL (1982) -- Winner, Sound Effects Editing RAIDERS OF THE LOST ARK (1981) -- Winner, Special Achievement Award (Sound Effects Editing) Burtt also received a Special Achievement Award in 1977 "for the creation of the alien, creature and robot voices featured in STAR WARS." WANTED Chris Jenkins, Frank A. Montaño and Petr Forejt ACADEMY AWARDS HISTORY This is the fourth Academy Award nomination for Chris Jenkins. He was previously nominated for: THE LAST OF THE MOHICANS (1992) -- Winner, Sound DICK TRACY (1990) -- Nominee, Sound OUT OF AFRICA (1985) -- Winner, Sound This is the fifth Academy Award nomination for Frank A. Montaño. He was previously nominated for: BATMAN FOREVER (1995) -- Nominee, Sound CLEAR AND PRESENT DANGER (1994) -- Nominee, Sound THE FUGITIVE (1993) -- Nominee, Sound UNDER SIEGE (1992) -- Nominee, Sound This is the first Academy Award nomination for Petr Forejt. Quote Link to comment Share on other sites More sharing options...
old school Posted January 23, 2009 Report Share Posted January 23, 2009 Wow that is a complete list and history of the nominees. Thanks. Congrats too all the folks who worked that hard and long on their films. You are all winners IMO. CrewC Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted January 23, 2009 Author Report Share Posted January 23, 2009 Wow that is a complete list and history of the nominees. Thanks. Congrats too all the folks who worked that hard and long on their films. You are all winners IMO. CrewC I took a page from ol' "cut and paste" and formatted the list with history from the oscar.com site. My feeling is that it just spares us a trip to another site so I posted it here. Glad you appreciated the effort. - Jeff Wexler Quote Link to comment Share on other sites More sharing options...
Omar Milano Posted January 23, 2009 Report Share Posted January 23, 2009 Hello everyone, This is not a question pertaning to the nominations, but about credits. I have noticed that sound mixers are now being credited at the beginning, as credits begin to roll, instead of being buried after the art and camera department. Was that something negotiated? Just curious. Cheers, Omar Milano Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted January 23, 2009 Author Report Share Posted January 23, 2009 This is not a question pertaning to the nominations, but about credits. I have noticed that sound mixers are now being credited at the beginning, as credits begin to roll, instead of being buried after the art and camera department. Was that something negotiated? Just curious. Cheers, Omar Milano I have not seen any sound mixers' credits appearing as front credits lately. There has been a handful of instances where the Production Sound Mixer has had an up front credit (this is the credit I received on "Being There" and I believe this was the first time that the production sound mixer had a front credit) but it certainly is NOT something that has ever been negotiated by our Union. There have been quite a few up front credits for SOUND in movies but this has generally been for individuals who have the title "Sound Designer" and are rarely if ever the sound mixer (and almost never the PRODUCTION mixer). In the case of post sound mixers and sound designers I believe the up front credit IS negotiated but not by the union --- rather this is a function of a personal professional contract these individuals have negotiated with the production. Regards, Jeff Wexler Quote Link to comment Share on other sites More sharing options...
Chrisboom Posted January 23, 2009 Report Share Posted January 23, 2009 Simon Kaye had an upfront in the begining credit on " PLATOON". He was the production mixer. Quote Link to comment Share on other sites More sharing options...
old school Posted January 23, 2009 Report Share Posted January 23, 2009 I think Omar is talking about the sound credits being up higher in the end credit roll, not before the film like "Being There" or "Platoon". The first time I read it, I read it like Jeff n Chris and responded and then deleted my response. I guess it can be read both ways. I have not seen any new films where sound had a credit before the film. CrewC Quote Link to comment Share on other sites More sharing options...
samsound Posted January 24, 2009 Report Share Posted January 24, 2009 I believe that Chris Munro has a credit as Sound Recordist among the front titles on "Quantum of Solace" - an appellation that has been discussed on another group! But it is rare to see Production Sound Mixer acknowledged on front titles on US and UK movies,tho' as Jeff says there are increasing appearances of 'Sound Designer'. However,it is a fairly common practice on European movies to have Sound taking its rightful place on front titles as an intrinsic component of the Production . This is often in the form of a front card for sound with three names,but not giving the categories of these persons. I assume that these would be Production Sound Mixer,Supervisng Sound Editor and Re-recording Mixer,but I have never researched further. Just nice to see 'Sound' being acknowledged! Mutt n' Jeff Quote Link to comment Share on other sites More sharing options...
Chrisboom Posted January 24, 2009 Report Share Posted January 24, 2009 Ahh CrewC that seems correct. I do like that Jeff said he used to ( maybe still does ) request that the sound crew be listed as" Production Sound " rather then " mixer, boom and utility " on a film. Is that correct Jeff? Quote Link to comment Share on other sites More sharing options...
old school Posted January 24, 2009 Report Share Posted January 24, 2009 I won't respond for Jeff, but when I was booming with Jim Webb, that was our agreement. Sometimes it turned out that way. Other times.... On "Flashdance" I received no credit. On "Legal Eagles" we were both credited as production sound mixers. Can't remember how the other 3 movies were credited, but I endorse this credit for production sound crews. Seems right and fair. CrewC Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted January 24, 2009 Author Report Share Posted January 24, 2009 I think we may have mis-read what Omar was saying, as Crew pointed out, and it is true that the sound credits have in recent times migrated up the list of credits (the crawl) at the end of the movie. Most often, the end credits, with the exception of the re-stating of the actors, is in alphabetical order for the most part --- so SOUND credits are in the same neighborhood as SET DRESSING, SCRIPT SUPERVISION, etc. (though that should put CRAFT SERVICE way near the top and it doesn't). Regarding what I call the "group credit" this was indeed started by Jim Webb who was one of the first people I knew who tried to formalize the importance of the boom operator (and utility person). I took the lead from Jim and did manage to have a group credit on quite a few films. It helped during the the time that Don and I did have a real team --- working with the same utility person for several movies. The credit would read: "Production Sound" followed by all 3 names. I really like that credit since it truly represented the full efforts of our team. - Jeff Wexler Quote Link to comment Share on other sites More sharing options...
old school Posted January 24, 2009 Report Share Posted January 24, 2009 Since the topic is drifting... I think that the 'Group Credit' reflects the team approach and ownership or responsibility of the production sound tracks. More than 99% of the world knows nothing about our job titles, only our peers do. Maybe it would spread through the crafts. I have always seen the whole process of film making as teamwork. Thats how I do the job. If a mistake is made, we did it. If there was a 'atta boy', we got it. I just want my team to have their heads in the game as we play it and do it well. It is easy to know when this is happening, we are having fun most of those times. BTW, my ego was such that I have always thought they are my team regardless of my job position. I know the mixer gets the call, but there is a reason.... During the last full film I did as a boom man, we were in Santa Fe for 6 months. A few films rolled through town as we did ours. This happens and can be like stage hopping. On one of them was a Mixer I admired. Top of the heap for many years and had even sold 3 or 4 scripts. My kind of roll model back then. I seek him out after some co production baseball match/ barbecue. We had a few beers. Nice guy until this subject came up. He hated it on every level. We had a good argument as I recall. No POV's were changed, but I got to know him. CrewC Quote Link to comment Share on other sites More sharing options...
Cloud Wang Posted January 24, 2009 Report Share Posted January 24, 2009 In China,most of films,shown the production sound mixers' name at the beginning of the film,because in the old time here,20or 30years ago,the production sound mixer also doing the post sound design,it needs you know everything about the sound,production and post.But now,more and more filmmakers are studying the hollywood industry style,the sound designer here are used to be production mixer,now they getting older and want stay away from production,it's really hard labor on set in china,long working time and barely break time,they have family and want spend more time for the family.So usually they let their students or young guy on set,they do the post job,and now here,those hongkongness and taiwaness actors can't speak madarine very well,they have to dub vocie,ADR is more and more popular,those big budget films are using the best sound gears in the world, then in the post,they just dub all the actors' vocie..... Quote Link to comment Share on other sites More sharing options...
FSBELLA Posted January 24, 2009 Report Share Posted January 24, 2009 IMO- The sound mixer or however they are credited, seems pretty low on the scroll. gd luck Quote Link to comment Share on other sites More sharing options...
old school Posted January 25, 2009 Report Share Posted January 25, 2009 Credits are a weird thing for me. If I were 'King", ( which they say is good to be), I would do away with all of them as a on screen thing. Let them be of public record and easy to get for those interested and embedded in the DVD, but the endless list in the crawl is more annoying then worthy IMHO. It is a tradition so I know it will be with us forever. But if I were Old King Crew, only my name would be on any film..... Another reason for Democracy. CrewC Quote Link to comment Share on other sites More sharing options...
Bondelev Posted January 25, 2009 Report Share Posted January 25, 2009 Actually if you look at early films the end credits were often only one or two cards. So that's the tradition. And I agree that they are pointless. Outside of Hollywood, no one watches them. Quote Link to comment Share on other sites More sharing options...
FSBELLA Posted January 25, 2009 Report Share Posted January 25, 2009 Actually if you look at early films the end credits were often only one or two cards. So that's the tradition. And I agree that they are pointless. Outside of Hollywood, no one watches them. I am walking out quick, right at the end music cues. mostly to chase down my youngest daughter or I have to pee real bad. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted January 25, 2009 Report Share Posted January 25, 2009 Even when I was a little kid -- 7, 8 years old -- I was fascinated with movie credits and stayed in the theater all the way until the copyright notice and fade out. Drove my parents crazy. I do this today, even with DVDs. (I'm also of the "Woody Allen" school: if you miss the first ten seconds of the movie, I can't watch it. Totally O.C.D.) There's a famous Writers Guild story about a screening in the late 1980s, where the credits started and half the audience got up to leave. Harlan Ellison leapt up on top of his seat and yelled, "sit down! SIT DOWN AND LOOK AT THE NAMES OF THE PEOPLE WHO BROUGHT YOU THIS WONDERFUL MOVIE! PAY THEM THE RESPECT THEY DESERVE!" Everybody sheepishly crept back to their seats, sat down, and were very quiet until the final frame. --Marc W. Quote Link to comment Share on other sites More sharing options...
Eric Toline Posted January 25, 2009 Report Share Posted January 25, 2009 Even when I was a little kid -- 7, 8 years old -- I was fascinated with movie credits and stayed in the theater all the way until the copyright notice and fade out. Drove my parents crazy. I do this today, even with DVDs. (I'm also of the "Woody Allen" school: if you miss the first ten seconds of the movie, I can't watch it. Totally O.C.D.) --Marc W. Long, long time ago when I was a kid in NY there were no published start times. You went in anytime and sat thru until you got to the part where you came in and then you left. That was also the time when theaters showed two films, a newsreel, coming attractions and on Saturday afternoons, 10 cartoons and the latest chapter in "Flash Gordon or Superman" and the like. 4 hours of fantasy in the dark and when you left the theater to come out in the bright sunlight you squinted until your eys got accustomed to the light. Mothers would bring lunch to the kids in the theater so they wouldn't go hungry. All that fun in glorious B&W for $.15 + $.10 for a box of Raisinettes or Necco Wafers. Eric Quote Link to comment Share on other sites More sharing options...
studiomprd Posted January 25, 2009 Report Share Posted January 25, 2009 this thread is wandering off into another topic: screen credits, and I'll stick my foot into my mouth once again here... caution, rant mode=ON while there is a "recognition of the movie makers" involved, most of the credits have become ego things that are included in contracts. look at all the credits that now clutter up the print ad's, the billboards, bus cards, and even the 3+ unreadable flashes with the TV ad's! the truth is that anyone who wants to know who the "Assistant Associate Co-Executive Consulting Producer" (whatever that is!) on any movie can easily find out. These interested folks are usually in the biz or a closely allied business. Ma and Pa Kettle, in screwball hollow, West Virginia aren't interest, don't care, and possibly are annoyed by all the credits, especially when they are over 10 minutes into a movie and still being distracted by meaningless (to them) names still being rudely flashed on the screen. thus on television, everything possible is done to minimize credits, which contractually can not be eliminated. this, of course includes squeezing them into oblivion, speeding them up beyond any possible recognition (or both) and even involves taking the entire required credit roll and completely re-creating it in a form better suited to being minimized. but of course as the program ends, and the music swells, the one thing on every viewers mind is: "who was the executive producer of this epic work???" there is even a counter productive aspect to these long credit rolls (including, it seems, everyone who who even knew the movie was being made, or anyone involved in it!) since theaters have to show them all, the rime they take often adds up to enough time for an additional showing on many days, which could increase the movies' $$$ take... ok...rant mode=off Quote Link to comment Share on other sites More sharing options...
Omar Milano Posted January 25, 2009 Report Share Posted January 25, 2009 Sorry for turning this discussion into a different one from the original. CrewC is right. What I meant was the end credits showing the production sound mixer ahead of the cast and crew. But I now see that the times this caught my attention happened to be films by the Coens - No Country for Old Men and Burn After Reading - both mixed by Peter Kurland with Randy Johnson and Laurel Bridges on boom respectively. Regards, Quote Link to comment Share on other sites More sharing options...
old school Posted January 25, 2009 Report Share Posted January 25, 2009 Hey Omar, no reason to be sorry. Peter n Randy are in the top of the sound pile. The Coen Bro's are film makers who respect our craft and use the same crew members over n over. I wish the whole game was played like they play it. CrewC Quote Link to comment Share on other sites More sharing options...
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