George Watters II was honored as the 2012 MPSE career achievement recipient, presented to him – after much good-natured ribbing – by director Jon Turtletaub. The award-winning supervising sound editor garnered Oscars in 1990 for The Hunt for Red October, and again in 2001 for Pearl Harbor. He has eight Academy Award nominations including Top Gun (1986), Star Trek VI: The Undiscovered Country (1991),Crimson Tide (1995), Armageddon(1998), Pirates of the Caribbean: The
Curse of the Black Pearl (2003) and Pirates of the Caribbean: Dead Mans Chest (2006). He is a four-time MPSE winner and has been nominated for three BAFTA awards. During the course of his distinguished career, Watters has supervised 76 feature films over the last 33 years, including creating 24 movie soundtracks for producer Jerry Bruckheimer. He has collaborated on multiple films with heavyweight directors such as Tony Scott, Michael Bay, Jon Turtletaub, Gore Verbinski, and Leonard Nimoy, among others. Following 19 years on staff at Paramount, Watters worked at Universal, Warner Brothers, 20th Century Fox and finally Walt Disney Studios from 2000-2011. Receiving the best sound editing, short form dialogue and ADR in television Golden Reel award for the Game Of Thrones episode “Cripples, Bastards And Broken Things,” supervising dialogue editor Peter Blayney perhaps summoned up the feeling of the night best when he thanked the MPSE by saying, “The better you do dialogue editing, the less it is noticed. So thank you for noticing.
The Motion Picture Sound Editors (MPSE) honored their own at the 59th Annual Golden Reel Awards with top feature film honors going to War Horse, Super 8, The Adventures of Tintin, The Muppets and Hugo. In all, 21 Golden Reels were presented to sound crews in film, television, direct-to-video and computer entertainment.
By Mary Ann Skweres and Bob Bayless
” The 2012 Golden Reel award winners are:
Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in an Animation Feature Film
The Adventures Of Tintin, (Paramount Pictures)
Directed by: Steven Spielberg
Produced by: Peter Jackson, Kathleen Kennedy, Steven Spielberg
Supervising Sound Editors: Brent Burge, Chris Ward
Sound Designer: Dave Whitehead
Supervising Foley Editor: Craig Tomlinson
Supervising Dialogue/ADR Editor: Chris Ward
Foley Artist: John Simpson
Sound Effects Editors: Hayden Collow, Matt Stutter, Justin Doyle and Frank Lipson
Dialogue Editors: Martin Kwok, Jason Canovas, Chris Todd
ADR Editor: Morgan Samuel
“Snowy” Effects Editor: Justin Webster
Best Sound Editing: Sound Effects, Foley, Dialogue, Adr And Music In A Feature Documentary
George Harrison: Living In The Material World, (HBO)
Directed by: Martin Scorsese
Produced by: Olivia Harrison, Martin Scorsese, Nigel Sinclair
Supervising Sound Editor: Philip Stockton, MPSE
Sound Designer: Al Zaleski
Music Editor: Jennifer Dunnington
Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in a Feature Foreign Language Film
The Flowers Of War, (Row 1 Entertainment)
Directed by: Yimou Zhang
Produced by: Chaoying Deng, William Kong, David Linde, Leo Shi Young and Weiping Zhang
Supervising Sound Editors: Steve Burgess, Tao Jing, MPSE
Sound Designer: Tao Jing, MPSE
Supervising Dialogue Editor: James Ashton
Foley Artists: Xu Miao, Mario Vaccaro
Dialogue/ADR Editor: Baiyang Wang
Foley Editors: Wei Wang, Yanchao Yang, Adam Connelly
Sound Effects Editors: Hongrui Ji, Yinan Tu, Tian Yong, Chris Goodes, Zheng Huang, Robert Mackenzie
Best Sound Editing: Music in a Feature Film
Hugo, (Paramount Pictures)
Directed by: Martin Scorsese
Produced by: Tim Headington, Graham King, Johnny Depp, Martin Scorsese
Supervising Music Editor: Jennifer Dunnington
Music Editor: Rob Houston
Supervising Score Editor: Jonathan Schultz
Score Editor: Kirsty Whalley
Additional Editor: Tim Starnes
Best Sound Editing: Music in a Musical Feature Film
The Muppets, (Walt Disney Studios Motion Pictures)
Directed by: James Bobin
Produced by: David Hoberman, Todd Lieberman, Don Burgess
Supervising Music Editor: Lisa Jaime
Music Editor: Richard Ford
Best Sound Editing: Dialogue And ADR in a Feature Film
Super 8, (Paramount Pictures)
Directed by: J.J. Abrams
Produced by: J.J. Abrams, Bryan Burk, Steven Spielberg
Supervising Sound Editors: Matthew Wood, Ben Burtt
Dialogue/ADR Editors: Cheryl Nardi, Rich Quinn, Steve Slanec
ADR Editors: Gwendolyn Yates-Whittle, MPSE, Brad Semenoff and Stuart McCowan, MPSE
Best Sound Editing: Sound Effects and Foley in a Feature Film
War Horse, (Touchstone Pictures)
Directed by: Steven Spielberg
Produced by: Steven Spielberg, Kathleen Kennedy
Supervising Sound Editor/Sound Designer: Gary Rydstrom, MPSE
Supervising Sound Editor: Richard Hymns
Supervising Foley Editor: Luke Dunn Gielmuda
Foley Artists: Denise Thorpe, Jana Vance
Sound Editors: Kyrsten Mate, Terry Eckton, MPSE, Tim Nielsen and Colette Dahann
If you have an agent or manager, get his/her input! Your representation will most likely have lots of opinions, so it’s best to get them BEFORE you spend the time and money on new Headshots.
Think about what you want to convey in your pictures? What types of roles do you want to play? Are you gearing for commercials, theatre or films? Not only should you embody specific character types throughout your photo session, but your wardrobe should reflect them as well. Headshots in Los Angeles need to be very specific geared directly towards the role you are submitting for. This can be a deal breaker when a casting director is looking though hundreds of photos.
Bring 2×3 times the wardrobe choices to the looks you’re planning to shoot. Think of layering to make it more interesting, Don’t pick too trendy clothes that will be outdated next season. Pick solid colors, avoid loud, busy patterns, logs and florals. Incorporate bold color, as well as neutral tones within our wardrobe options. Accessories like hats, scarfs , gloves also will help to create a character. Look for specific colors, which highlight and enhance your skin tone and hair and or eye color.
Make sure you bring the right undergarments for the session such as the right bra type (nude strapless) and color as well as any body contouring garments enhancing your features.
Bring your wardrobe ironed on hangers, every wrinkle will show, unless you’re going for the “bad boy” look. Make sure garments haven’t been over-laundered and are stain free (everything shows). Study yourself in a mirror and practice expressions. Be aware of any unwanted facial expressions such as eye squinting or showing too much of your gums when smiling as well as nose and forehead wrinkling.
There should be some eyebrow shaping for both, men and women. If you do not feel comfortable reshaping your own eyebrows, hire a professional you have worked with before hand from a local beauty salon. If you are prone to skin irritations, have hot wax hair removal treatments done a minimum of two to three days prior to the session and clean any strays with the tweezers. Men should shave early in the morning not just before the shoot. I had too many men show up for the photo session with red blotchy, irritated skin.
Manicure your nails. Choose a soft nail color to avoid distractions from your face. This is especially important if you plan close-up photos including your hands or show your hands in a ¾ shot.
If you plan doing your own make-up stay with a neutral color palette (no blue eye shadow or bright red lips) bring your make-up bag especially powder.
Eat a protein bar on your way to the studio so you have good energy and not feeling lethargic/ fatigued. Always carry water so you stay dehydrated.
At last, kids/ pets/ spouses and photo shoots don’t mix, unless they suppose to be in the picture. It’s easy to be distracted for you and the photographer. Your focus needs to be 100% on the task at hand.
Come to the shoot with 5 or 6 tops and one pair of jeans or cool pants that are basic and neutral to wear throughout the shoot. We mostly go for the eyes so don’t worry too much about “whole outfits”!!! It’s “EYES” that sell! What tends to work best on women are fitted tops in all sorts of colors- the weirder and funkier the better! White or neutrals/color (blues, reds, grays) are great, too, but because color is the new bang, make sure you pack your favorite fun colored tops. TIGHT LONG SLEEVE tops in solid colors also work well. You can bring a top with pattern or a sundress, but generally, it’s best to go for basic solids. Bring tops you love and feel pretty in (like a top you’d wear on a date!). We love shooting textured sweaters, again in solid colors or neutrals.
For men, we recommend a solid blue or other colored button down shirt, clean cotton t-shirts, a white t-shirt and a couple solid colored t-shirts and a few tops/sweaters you like. Textured sweaters look great and dark long sleeve tight fitting shirts work really well, too- Banana Republic is a good place to splurge before the shoot! If you want a shot with a jean jacket or leather one, bring it along, too. Same thing applies for men as it does for women- texture reads well and wear tops you’d wear on a first interview or special event!!!
FOR MODELING ..GO CRAZY!! Flip through your favorite fashion mags and try to copy outfits you think are interesting and “stylized” – e.g., American Apparel (an 80’s look), a fancy dress, casual, sporty, etc. Bring a few different pairs of shoes and accessories you want to throw in…but don’t overpack! We can kick a shoot to the sky with very little and you don’t want to look tired from hauling a huge piece of luggage to the shoot! (you can always drop off clothes the day before, though- so go ahead and have fun with it!!) If you would like to hire a stylist, we have a list of the best- they generlly charge $250-$500 plus gratuity. They’ll bring you a bunch of items from their trunks, (sometimes they even sew something special just for you!)- they bring shoes and jewelry, and having a stylist can make the difference between a more pedestrian looking shoot to a more professional one- so think about it!