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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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon