The Golden Reel Sound Editors Guild Nominations

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Best Sound Editing – Domestic Feature Film
The Italian Job
Kill Bill, Vol. 1
The Last Samurai
Master and Commander: The Far Side of the World
The Matrix Reloaded
Open Range
Pirates of the Caribbean: The Curse of the Black Pearl
Seabiscuit
Terminator 3: Rise of the Machines

Best Sound Editing – Music – Feature Film
Cold Mountain
Gods and Generals
Jeepers Creepers 2
Kill Bill, Vol. 1
The Lord of the Rings: The Return of the King
Pirates of the Caribbean: The Curse of the Black Pearl
Something’s Gotta Give
Underworld

Best Sound Editing – Dialogue – Feature Film
2 Fast 2 Furious
Dreamcatcher
The Last Samurai
Master and Commander: The Far Side of the World
Mystic River
Pirates of the Caribbean: The Curse of the Black Pearl
Seabiscuit
X2: X-Men United

Best Sound Editing – Foreign – Feature Film
28 Days Later
City of God
Cold Mountain
Dust
The Lord of the Rings: The Return of the King
Underworld
Veronica Guerin
Whale Rider

Best Sound Editing – Music – Musical Feature
The Company
The Fighting Temptations
A Mighty Wind
School of Rock

Best Sound Editing – Music – Animated Feature
Brother Bear
Finding Nemo
The Jungle Book 2

Best Sound Editing – Animated Feature
Brother Bear
Finding Nemo
The Jungle Book 2
Millennium Actress
Rugrats Go Wild
Sinbad: Legend of the Seven Seas
The Triplets of Belleville

Television Nominations

Best Sound Editing – Longform Television
44 Minutes
And Starring Pancho Villa as Himself
Helen of Troy
Hitler: The Rise of Evil
Ice Bound
The Salem Witch Trials
Saving Jessica Lynch
Word of Honor

Best Sound Editing – Music – Longform Television
And Starring Pancho Villa as Himself
DreamKeeper
Hitler: The Rise of Evil
The Music Man
Wuthering Heights

Best Sound Editing – Dialogue – Longform Television
And Starring Pancho Villa as Himself
Going for Broke
Hitler: The Rise of Evil
Julius Caesar
The Music Man
The Salem Witch Trials
Saving Jessica Lynch
Twelve Mile Road
Unspeakable

Best Sound Editing – Episodic Television
Alias
Carnivale
CSI: Crime Scene Investigation
CSI: Miami
ER
Smallville
Third Watch
Without a Trace

Best Sound Editing – Music – Episodic Television
American Dreams
Queer As Folk
Scrubs
Sex and the City
Watching Ellie

Best Sound Editing – Dialogue – Episodic Television
American Dreams
Carnivale
The District
ER
Six Feet Under
Third Watch
The West Wing
Without a Trace

Best Sound Editing – Television Animation
The Adventures of Jimmy Neutron
Dinosaur Planet
The Fairly Odd Parents
He-Man and the Masters of the Universe
Justice Leauge
SpongeBob Squarepants
Teen Titans
Xiaolin Showdown

Best Sound Editing – Music – Television Animation
Dexter’s Laboratory
Johnny Bravo
Lilo & Stitch
Mucha LuchaSpongeBob Squarepants

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The Atlantic: You saw that the Academy Awards recently held up your 2001 acceptance speech as the Platonic ideal of an Oscar speech. Did you have a reaction?

Soderbergh: Shock and dismay. When that popped up and people started texting me about it, I said, “Oh, it’s too bad I’m not there to tell the story of how that took place.” Well. I was not sober at the time. And I had nothing prepared because I knew I wasn’t going to win [Best Director for Traffic]. I figured Ridley, Ang or Daldry would win. So I was hitting the bar pretty hard, having a great night, feeling super-relaxed because I don’t have to get up there. So the combination of a 0.4 blood alcohol level and lack of preparation resulted in me, in my state of drunkenness crossed with adrenaline surge. I was coherent enough to know that [if I tried to thank everyone], that way lies destruction. So I went the other way. There were some people who appreciated that, and there were some people who really wanted to hear their names said, and I had to apologize to them.
~ Steven Soderbergh

 

“I have made few films in a way. I never made action films. I never made science fiction films. I never made, really, very complicated settings, because I had modest ambitions. I knew they would never trust me to have the budget to do something different, so my mind is more focused on things I know. So they were always mental adventures I wanted to approach and share. Working for cinema with no – not only no money, but also no ambition for money. I was happy and proud [to receive the honorary Oscar] because of that, that [the Academy] could understand what kind of work I have done over 60 years. I stayed faithful to the ideal of sharing emotion, impressions, and mostly because I have so much empathy for other people that I approach people who are not really spoken about. I have 65 years of work in my bag, and when I put the bag down, what comes out? It’s really the desire of finding links and relationships with different kinds of people. I never made a film about the bourgeoisie, about rich people. about nobility. My choices have been to show people that are, in a way, more common and see that each of them has something special and interesting, rare and beautiful. It’s my natural way of looking at people. I didn’t fight my instincts. And maybe that has been appreciated in the famous circle of Hollywood.“

Agnes Varda