By Ray Pride Pride@moviecitynews.com

Cinema Audio Society Awards For Outstanding Sound Mixing

 

Los Angeles, February 18 – The Cinema Audio Society Award for Outstanding Sound Mixing Motion Picture – Live Action was presented to the sound mixing team of Steven Morrow, CAS, Andy Nelson, CAS, Ai Ling Lee, Nicholai Baxter, David Betancourt, and James Ashwill for “La La Land”. Director Damien Chazelle was on hand to support his winning sound mixing team!

Top honors for Motion Picture – Animated went to “Finding Dory” and the sound mixing team of Doc Kane, CAS, Nathan Nance, Michael Semanick, CAS, Thomas Vicari, CAS and Scott Curtis.

This year the first ever CAS Award for Outstanding Sound Mixing Motion Picture – Documentary went to The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble and the team of Dimitre Tisseyre, Dennis Hamlin and Peter Horner.

Held in the Bunker Hill Ballroom of the OMNI Los Angeles Hotel at California Plaza with an after party hosted by the Awards Title Sponsor Dolby Laboratories and emceed by comedian/writer/animal activistElayne Boosler, the 53rd CAS Awards also celebrated the professional contributions of Production Sound Mixer John Pritchett by honoring him with the CAS Career Achievement Award. Pritchett’s award was presented with a flourish by Re-recording mixer Scott Millan, CAS andJack Black. A special video tribute from Tom Hanks was included in the presentation.

 

Emmy Award nominated Actor/Writer/Director/Producer Jon Favreau(The Jungle Book, Chef, Cowboys & Aliens, Iron Man, Iron Man 2)received the CAS Filmmaker Award in a presentation that included remarks by Oscar® nominated and Emmy®  winner Seth MacFarlane(Family Guy, Sing, Ted, Ted 2), CAS President Mark Ulano andAcademy® Award nominated and Emmy® Award winner composer John Debney (Sin City, Iron Man 2).  Video-taped congratulations from Stan Lee and Ed Asner rounded out the tribute. Favreau joins an impressive list of previous CAS Filmmakers Honorees including: Jay Roach,Quentin Tarantino, Gil Cates, Bill Condon, Paul Mazursky, Henry Selick, Taylor Hackford, Rob Marshall, Jonathan Demme, Edward Zwick, Richard Linklater and Jay Roach..

 

The Sound Mixing team of The People v. O.J. Simpson: American Crime Story took top honors for Television Movie or Mini-Series.  Television-One Hour honors went to “Game of Thrones: Battle of the Bastards”, while “Modern Family: The Storm” won the award for Television Series-Half Hour. “Grease Live!” won for Television Non-Fiction, Variety or Music Series or Specials.

 

Wenrui “Sam” Fan a student at Chapman University, Orange, CA was awarded the CAS Student Recognition Award and presented with a check for $2500. The CAS Student Recognition Award is enthusiastically supported by both IMAX and Avid Technology.

 

The CAS Outstanding Product Awards for 2016 were presented toCedar Audio for their Cedar DNS2 Dialogue Noise Supressor andMcDSP for their SA-2 Dialogue processor for Post-Production.

 

Celebrity presenters for the evening were: Nancy Cartwright (The Simpsons), Robert Forster (Jackie Brown), Janina Gavankar (FOX’s Sleepy Hollow) Clyde Kusatsu (SAG/AFTRA Vice-President, Madame Secretary), Angela Sarafyan (HBO’s Westworld), Rhea Seehorn(AMC Better Call Saul) and Nondumiso Tembe (History Channel’s Six).

 

The Cinema Audio Society thanks the 53rd CAS Awards Sponsors:

Title Sponsor and After Party Host – Dolby Laboratories,  Student Recognition Award Sponsors – Avid and IMAX Platinum Level – NBC Universal Operations, Netflix (Double Platinum), Universal Pictures; Silver Level – Denecke, Focus Features, Fox Studio Production Services, iZotope, Paramount Pictures, Technicolor, Warner Bros. Studio Facilities.

 

The Cinema Audio Society, a philanthropic, non-profit organization, was formed in 1964 for the purpose of sharing information with Sound Professionals in the Motion Picture and Television Industry.

 

THE 53rd CAS AWARDS FOR

OUTSTANDING ACHIEVEMENT IN SOUND MIXING and OUTSTANDING PRODUCTS FOR 2016

 

MOTION PICTURE – LIVE ACTION

 

La La Land

Production Mixer – Steven Morrow, CAS

Re-recording Mixer – Andy Nelson, CAS

Re-recording Mixer – Ai-Ling Lee

Scoring Mixer – Nicholai Baxter

ADR Mixer – David Betancourt

Foley Mixer – James Ashwill

 

 

MOTION PICTURE—ANIMATED

Finding Dory

Original Dialogue Mixer – Doc Kane, CAS

Re-recording Mixer – Nathan Nance

Re-recording Mixer – Michael Semanick, CAS

Scoring Mixer – Thomas Vicari, CAS

Foley Mixer – Scott Curtis

 

MOTION PICTURE—DOCUMENTARY

The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble

Production Mixer – Dimitri Tisseyre

Production Mixer – Dennis Hamlin

Re-recording Mixer – Peter Horner

 

TELEVISION MOVIE or MINI-SERIES

The People v. O.J. Simpson: American Crime Story

Production Mixer – John Bauman

Re-recording Mixer –Joe Earle, CAS

Re-recording Mixer – Doug Andham, CAS

ADR Mixer – Judah Getz

Foley Mixer –John Guentner

 

TELEVISION SERIES – 1 HOUR Game of Thrones: Battle of the Bastards

Production Mixer – Ronan Hill, CAS

Production Mixer – Richard Dyer, CAS

Re-recording Mixer – Onnalee Blank, CAS

Re-recording Mixer – Mathew Waters, CAS

Foley Mixer – Brett Voss, CAS

TELEVISION SERIES – 1/2 HOUR

Modern Family: The Storm

Production Mixer – Stephen A. Tibbo, CAS

Re-recording Mixer – Dean Okrand, CAS

Re-recording Mixer – Brian R. Harman, CAS

 

TELEVISION NON-FICTION, VARIETY or MUSIC SERIES or SPECIALS

Grease Live!

Production Mixer – J. Mark King

Music Mixer – Biff Dawes

Playback and SFX Mixer – Eric Johnston

Protools Playback Music Mixer – Pablo Munguía

 

OUTSTANDING PRODUCT – PRODUCTION

 

CEDAR DNS2 Dynamic Noise Suppression Unit

Manufacturer: Cedar Audio

 

OUTSTANDING PRODUCT – POST

SA-2 Dialog Processor

Manufacturer: McDSP

 

STUDENT RECOGNITION AWARD

Wenrui “Sam” Fan

Chapman University – Orange, CA

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
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