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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“Yes, yes, yes. Now I am also the producer on Jean-Luc’s films, so I need to raise the money. Yes, there are two projects in preparation with the pretext of virtual reality. We are beginning with two approaches: we can either do or undo VR. Maybe we will undo it more than we do VR, because thinking about VR leads to the opposite of VR. Is there concrete imagination in virtual reality? For me, cinema is concrete imagination because it’s made with the real and uses it. VR, virtual reality, is totally the opposite of that, but it might be interesting to use this and then to destroy it. No, we’ll see, we’ll see. First, it’s just an idea of a beginning. There is a forest to cross, and we are just at the beginning of the forest. The first step is development. As they say in business, first there is development and research. We have to develop somehow an idea for the film; I won’t say a script, but to see what we can do with this system, and what we can undo with this system.”
~ Fabrice Aragno On Godard’s Next Projects

“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray