Posted January 6th, 2020

Non-Theatrical Nominees:

Non-Theatrical Feature

Deadwood: The Movie 

Supervising Sound Editors:  Mandell Winter, MPSE, Daniel Colman
Sound Designer: Ben Cook
Dialogue Editors: Brian Armstrong, Bernard Weiser, Shane Hayes
ADR Editors: Rob Chen, Dhyana Carlton-Tims
Foley Editor: Eryne Prine 
Music Editors: Micha Liberman, Jillinda Palmer, Stephanie Gangel

Escape Plan: Extractors

Supervising Sound Editor: David Barber, MPSE 
Sound Designer: Roland Thai 
Sound Effects Editors: George Haddad, MPSE, Ben Zarai
ADR Editor: Michael Kreple
Foley Editor: David Kitchens, MPSE 
Foley Artist: Gonzalo “Bino” Espinoza
Music Editor: Steven Saltzman, MPSE

Guava Island

Supervising Sound Editor: Trevor Gates
Dialogue Editor: Jesse Kees 
Sound Effects Editors: Matt Hall, Paul Knox 
Supervising ADR Editor: Jason Dotts
Foley Editor: Walter Spencer  
Music Editor: Devaughn Watts
Foley Artists: Tim McKeown, Mike Hornton

IO

Supervising Sound Editor: Mac Smith 
Sound Designers: Mac Smith, Brandon Proctor
Dialogue Editor: Brad Semenoff
Sound Effects Editors: 
ADR Editor: Chris Gridley 
Foley Editor: Richard Gould  
Foley Artist: Heikki Kossi, MPSE 

Music Editor: Felipe Pacheco

Lady and the Tramp

Supervising Sound Editors: Andrew DeCristofaro, MPSE, Darren “Sunny” Warkentin MPSE
Sound Designer: David Esparza 
Dialogue Editor: Kelly Oxford 
Sound Effects Editors: Michael Payne MPSE, Matthew Wilson
ADR Editor: David Stanke
Supervising Foley Editor: Geordy Sincavage  

Foley Editor: Alex Jongbloed
Supervising Music Editor: Bryan Lawson
Music Editor: Erica Weis

Mary

Supervising Sound Editor: David Barber, MPSE 
Dialogue Editor: Karol Urban, MPSE 
Sound Effects Editors: George Haddad, MPSE, Roland Thai, Steve Urban, MPSE, Ben Zarai
ADR Editor: Michael Kreple
Foley Artist: Gonzalo “Bino” Espinoza  
Foley Editor: David Kitchens, MPSE

Music Editor: Steven Saltzman, MPSE

O.G.

Supervising Sound Editors: Frederic Dubois, MPSE, Dror Mohar

Sound Editor: Bryan Parker, MPSE
Foley Artist: Tapio Liukkonen 

Togo

Supervising Sound Editors: Odin Benitez, MPSE, Todd Toon, MPSE
Sound Designer: Martyn Zub, MPSE
Dialogue Editor: John C. Stuver, MPSE 
Sound Effects Editors: Jason King, Adam Kopald, MPSE, Luke Gibleon, Christopher Bonis
ADR Editor: Dave McMoyler
Supervising Music Editor: Peter “Oso” Snell, MPSE
Foley Artists: Mike Horton, Tim McKeown 
Supervising Foley Editor: Walter Spencer

Non-Theatrical Animation

Batman: Hush 

Supervising Sound Editor:  Rob McIntyre, D.J. Lynch
Sound Designer:  Evan Dockter  
Sound Effects Editors: Lawrence Reyes, Derek Swanson
Foley Editor:  Aran Tanchum, Alfredo Douglas 
Foley Artists: Vincent Guisetti

Batman vs Teenage Mutant Turtles

Supervising Sound Editor:  Jeff Shiffman, MPSE
Dialogue Editor:  Kelly Foley Downs, Patrick J. Foley, Michael Garcia
Sound Effects Editors: Jessey Drake, MPSE, Mitchell Lestner, Kevin Hart
Supervising ADR Editor: Mark A. Keatts
Foley Editor: Tess Fournier, MPSE

Invader Zim: Enter the Florpus

Supervising Sound Editor:  Kate Finan, MPSE, Jeff Shiffman, MPSE
Dialogue Editor:  Johnathan Hylander
Sound Effects Editors: Jessey Drake, MPSE, Tess Fournier, MPSE, Ben Gieschen, Mitchell Lestner, Greg Rubin

Foley Editor: Carol Ma

Lego DC Batman: Family Matters

Supervising Sound Editor: Rob McIntyre, D.J. Lynch
Sound Designer: Lawrence Reyes 
Sound Effects Editors: Ezra Walker
ADR Editor: George Peters 
Foley Editor: Aran Tanchum, Derek Swanson
Foley Artists:  Vincent Guisetti 

Lucky

Supervising Sound Editor:  Jeff Shiffman, MPSE 
Dialogue Editor:  Michael Wessner
Sound Effects Editors: Tess Fournier, MPSE, Brad Meyer, MPSE 
Foley Editor: Carol Ma

Reign of the Supermen

Supervising Sound Editor:  Rob McIntyre, D.J. Lynch
Sound Designer:  Evan Dockter  
Sound Effects Editors: Ezra Walker 
Foley Editor:  Aran Tanchum, Alfredo Douglas 
Foley Artists: Vincent Guisetti

Wonder Woman: Bloodlines

Supervising Sound Editor:  Rob McIntyre, D.J. Lynch
Sound Designer:  Evan Dockter 
Sound Effects Editors: Ezra Walker  
Foley Editor: Aran Tanchum, Alfredo Douglas 
Foley Artists: Vincent Guisetti

Non-Theatrical Documentary

Serengeti

Supervising Sound Editor: Paul Cowgill
Foley Editor: Peter Davies 
Music Editor: Alessandro Baldessari
Foley Artists: Paul Ackerman 

Apollo: Missions to the Moon

Supervising Sound Editor: John Warrin 
Dialogue Editor: Nick Pavey
Sound Effects Editors: Christopher Pentecost, Brian Golub, Leandro Cassan 

Epic Yellowstone

Sound Designer: Brian Eimer
Sound Effects Editors: Michael Bonini, Robynne Trueman
Foley Editor: Michael Le
Foley Artists: Guy Francoeur

Hostile Planet: Oceans

Supervising Sound Editor: Kate Hopkins, Tim Owens
Sound Effects Editors: Jonny Crew, Hannah Gregory, Ben Peace
Foley Editor: Tom Mercer  
Foley Artists: Ben Jones

Our Planet: One Planet

Sound Effects Editors: Kate Hopkins, Tim Owens

The Cornell Lab of Ornithology: Bird of Prey

Supervising Sound Editor:  Nicholas Renbeck
Dialogue Editor:  Branka Mrkic-Tana
Foley Editor:  George Lara, Dow McKeeve 
Foley Artists: Marko Costanzo  

The Apollo

Supervising Sound Editor: Christopher Barnett, Al Nelson
Sound Effects Editor: Benny Burtt

This Is Football

Supervising Sound Editor: Greg Gettens 
Sound Effects Editor: Chad Orororo 
Foley Editor: Ciaran Smith, Philip Moroz  
Foley Artists: Paula Boram

What’s My Name: Muhammad Ali

Supervising Sound Editor: Mandell Winter, David Esparza
Dialogue Editor:  Sang Kim, Micah Loken
Sound Effects Editors: Ryan Collins, Ando Johnson

View on the MPSE Website.

Posted December 16th, 2019

The Academy of Motion Picture Arts and Sciences announced shortlists in consideration for the Oscars in nine categories: documentary feature, documentary short subject, international feature film, makeup and hairstyling, music (original score), music (original song), animated short film, live action short film and visual effects.

The full lists are below:

DOCUMENTARY FEATURE

Fifteen films will advance in the documentary feature category after 159 films were submitted in the category. Members of the Documentary Branch vote to determine the shortlist and the nominees.

“Advocate”
“American Factory”
“The Apollo”
“Apollo 11”
“Aquarela”
“The Biggest Little Farm”
“The Cave”
“The Edge of Democracy”
“For Sama”
“The Great Hack”
“Honeyland”
“Knock Down the House”
“Maiden”
“Midnight Family”
“One Child Nation”

DOCUMENTARY SHORT SUBJECT

Ten films will advance in the documentary short subject category. There were 69 films qualified in the category. Members of the Documentary Branch vote to determine the shortlist and the nominees.

“After Maria”
“Fire in Paradise”
“Ghosts of Sugar Land”
“In the Absence”
“Learning to Skateboard in a Warzone (If You’re a Girl)”
“Life Overtakes Me”
“The Nightcrawlers”
“St. Louis Superman”
“Stay Close”
“Walk Run Cha-Cha”

INTERNATIONAL FEATURE FILM

Ten films will advance to the next round of voting in the international feature film category (formerly known as foreign language film). Ninety-one films were eligible in the category.

Academy members from all branches were invited to participate in the preliminary round. They must have viewed the submitted films theatrically and met a minimum viewing requirement to be eligible to vote in the category. Their seven choices, augmented by three additional selections voted by the Academy’s International Feature Film Award Executive Committee, constitute the shortlist.

In the nominations round, Academy members from all branches are invited to opt-in to participate and must view all 10 shortlisted films in order to cast a ballot.

Czech Republic, “The Painted Bird”
Estonia, “Truth and Justice”
France, “Les Misérables”
Hungary, “Those Who Remained”
North Macedonia, “Honeyland”
Poland, “Corpus Christi”
Russia, “Beanpole”
Senegal, “Atlantics”
South Korea, “Parasite”
Spain, “Pain and Glory”

MAKEUP AND HAIRSTYLING

Ten films will advance in the makeup and hairstyling category. All members of the Academy’s Makeup Artists and Hairstylists Branch will be invited to view seven-minute excerpts from each of the 10 shortlisted films on Saturday, January 4, 2020. Members will vote to nominate five films for final Oscar consideration.

“Bombshell”
“Dolemite Is My Name”
“Downton Abbey”
“Joker”
“Judy”
“Little Women”
“Maleficent: Mistress of Evil”
“1917”
“Once upon a Time…in Hollywood”
“Rocketman”

MUSIC (ORIGINAL SCORE)

Fifteen scores will advance in the original score category. One hundred seventy scores were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.

“Avengers: Endgame”
“Bombshell”
“The Farewell”
“Ford v Ferrari”
“Frozen II”
“Jojo Rabbit”
“Joker”
“The King”
“Little Women”
“Marriage Story”
“Motherless Brooklyn”
“1917”
“Pain and Glory”
“Star Wars: The Rise of Skywalker”
“Us”

MUSIC (ORIGINAL SONG)

Fifteen songs will advance in the original song category. Seventy-five songs were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.

“Speechless” from “Aladdin”
“Letter To My Godfather” from “The Black Godfather”
“I’m Standing With You” from “Breakthrough”
“Da Bronx” from “The Bronx USA”
“Into The Unknown” from “Frozen II”
“Stand Up” from “Harriet”
“Catchy Song” from “The Lego Movie 2: The Second Part”
“Never Too Late” from “The Lion King”
“Spirit” from “The Lion King”
“Daily Battles” from “Motherless Brooklyn”
“A Glass of Soju” from “Parasite”
“(I’m Gonna) Love Me Again” from “Rocketman”
“High Above The Water” from “Toni Morrison: The Pieces I Am”
“I Can’t Let You Throw Yourself Away” from “Toy Story 4”
“Glasgow” from “Wild Rose”

ANIMATED SHORT FILM

Ten films will advance in the animated short film category. Ninety-two films qualified in the category. Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.

“Dcera (Daughter)”
“Hair Love”
“He Can’t Live without Cosmos”
“Hors Piste”
“Kitbull”
“Memorable”
“Mind My Mind”
“The Physics of Sorrow”
“Sister”
“Uncle Thomas: Accounting for the Days”

LIVE ACTION SHORT FILM

Ten films will advance in the live action short film category. One hundred ninety-one films qualified in the category. Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.

“Brotherhood”
“The Christmas Gift”
“Little Hands”
“Miller & Son”
“Nefta Football Club”
“The Neighbors’ Window”
“Refugee”
“Saria”
“A Sister”
“Sometimes, I Think about Dying”

VISUAL EFFECTS

Ten films remain in the running in the visual effects category. The Visual Effects Branch Executive Committee determined the shortlist. All members of the Visual Effects Branch will be invited to view 10-minute excerpts from each of the shortlisted films online or attend satellite bake-off screenings in January 2020. Following the screenings, members will vote to nominate five films for final Oscar consideration.

“Alita: Battle Angel”
“Avengers: Endgame”
“Captain Marvel”
“Cats”
“Gemini Man”
“The Irishman”
“The Lion King”
“1917”
“Star Wars: The Rise of Skywalker”
“Terminator: Dark Fate”

Oscar nominations voting opens Jan. 2 and runs through Jan. 7. Nominations will be announced on Jan. 13. Final Oscar voting begins Jan. 30. Deadline for voting is Feb. 4. The Oscars will be handed out five days later on Feb. 9.

View article.

Posted November 1st, 2019

It’s just another pile of New York City bricks with a neon-lit marquee, technically. But if you’re in Harlem and walk down 125th street between Frederick Douglass Boulevard and Adam Clayton Powell Jr. Boulevard, the presence of The Apollo Theater is unmistakable. 

The Apollo documentary, premiering on HBO on Wednesday, November 6, attempts to illustrate its cultural significance in black history for the past 85 years. And considering the venue is famed for its amateur nights in which performers were either cheered or booed with zeal, it’s fitting that the film is a rousing success.

The blur of archival images at the outset reminds us of the generational scope of the Apollo’s impact: Duke Ellington, Louis Armstrong, Bo Diddley, Gregory Hines, Stevie Wonder, Gladys Knight, LL Cool J, Redd Foxx, Chris Rock and Will Smith all took the stage at some point in their careers. When they played to the audience — 1506 patrons at full capacity — they knew in their bones this wasn’t just any gig. The Apollo represented a space where black audiences could gather under even the most trying of circumstances to witness and judge popular art by their own standards. Jeering aside, this was a safe haven. Jamie Foxx, Angela Bassett and activist Herb Boyd are some of the luminaries that express how the top-notch entertainment at the Apollo has always been secondary to the rich communal spirit.

Director Roger Ross Williams (an Oscar winner for the short Music by Prudence) weaves through performance and politics, past and present. Resident historian, tour director and ambassador Billy “Mr. Apollo” Mitchell — he’s worked on the premises since 1965 — serves as our congenial guide (and frames the narrative), guiding curious pedestrians through the halls and delivering a more traditional overview to the camera. 

It was white entrepreneur and promoter Frank Schiffman who opened the theater in Harlem in 1934 as a talent showcase. The real estate became hallowed ground almost immediately thanks to the craftsmanship on stage and the business savvy behind the scenes. The hard-nosed Schiffman kept typed index cards of every artist and noted everything from temperament to ability. On Charlie Parker: “Excellent musician.” On Dizzy Gillespie: “Not prepared.” Dizzy Gillespie!     

The anecdotes that accompany some of these names are delicious in detail. In a remarkable account, a shy 17-year-old named Ella Fitzgerald originally planned to dance during the first year of Amateur Night in 1934. But after seeing the Edwards Sisters light up the stage with their synchronized steps, she decided to sing instead. She started scatting to Hoagy Carmichael’s “Judy” and took home first prize. A few years later, Ralph Cooper, who created and hosted Amateur Night, scouted Billie Holiday and convinced Schiffman to give her a shot. She performed the haunting protest song, “Strange Fruit.”

Several artists give their own first-hand recollections, and, mercifully, don’t do it wearing rose-colored glasses. Smokey Robinson waxes about how he and the Miracles had to share a cramped eighth-floor dressing room and work their way down based on success; actress Leslie Uggams recalls her first show there and says she was getting ready to leave when she was told she had to grind through four more that very day. (Performers typically did 29 shows a week!). Even Aretha Franklin, in an interview filmed just before her 2018 death, laments that she’s still waiting on the money that Schiffman owed her. 

Still, like most music-themed documentaries, the raw footage is the star of the show. And while it’s always amusing to gawk at acts before they hit it big, the videos here offer proper context to a specific time and place in our history. Consider that Richard Pryor elicits howls of laughter from the audience as he peppers the N-word throughout his stand-up material. Meanwhile, James Brown fearlessly declares, “Say it loud, I’m black and I’m proud” amid the civil rights riots of 1968. (After he died in 2006, the funeral was held at the Apollo as a tribute to both the venue and the hardest-working man in showbiz.) Barack Obama was the first sitting president to visit; he promptly brought down the house by crooning a few bars of Al Green’s “Let’s Stay Together.” 

The performances weren’t all groundbreaking crowd-pleasers. Though pre-teen, pre-Fugees Lauryn Hill covering a Smokey Robinson classic could be viewed in hindsight as a sign of her prodigious talent, the audience boos her. Off-stage, The Apollo endured its own hardships. Williams breezes through its woeful chapter in the 1970s when the site had to close due to bankruptcy. Manhattan borough President Percy B. Sutton tried but failed to turn it around financially. It’s now a federal and city landmark run by the state of New York.  

Can this historical attraction remain mythical? After all, Harlem itself is now so gentrified that The Apollo is located across from, yikes, The Gap. The jazz greats that once breathed life inside that theater have given way to acts like Lady Gaga and Guns N’ Roses. These facts also go without mention. But Williams wisely culminates his film with a 2018 all-star on-stage reading of Ta-Nehisi Coates’ “Between the World and Me,” a manifesto to the experience of being black in America. No singing, no dancing, no jokes. It’s a strong statement on the social and political meaning behind every artistic performance: A community can indeed find healing through the power of art. 

The Apollo premieres on HBO on Wednesday, November 6.

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