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“Letters From Iwo Jima” was the big winner Saturday as the Motion Picture Sound Editors honored an array of films and TV shows including “Pan’s Labyrinth,” “Dreamgirls,” “Apocalypto,” “Cars” and “CSI: Miami” at its 54th Golden Reel Awards Banquet.
The awards, held at the Beverly Hilton, recognize the year’s best work in the various areas of sound editing, and Clint Eastwood’s “Iwo Jima” came away with two trophies.
“Iwo Jima” took the award for best sound editing in sound effects and foley for a feature film, an honor that was shared by Sarah Monat, Robin Harlan, Alan Robert Murray, Jason King, Bub Asman, Kevin Murray, David Wolowic, Charles Maynes, Steve Mann, Jason Jennings, Michael Dressel and Chris Flick. The film also took the prize for best sound editing in a feature film, dialogue and ADR, with the award shared by Alan Robert Murray, Asman, Dave Arnold, Juno J. Ellis, Lucy Coldsnow-Smith, Gloria D’Alessandro, Karen Spangenberg and Nicholas V. Korda.
The sound editors also presented Eastwood with a Filmmaker of the Year Award.
Richard L. Anderson, whose credits include “Raiders of the Lost Ark,” “The Color Purple,” “Madagascar” and “Flushed Away,” was honored with the MPSE’s Career Achievement Award.
The prize for best sound editing in a foreign feature went to “Pan’s Labyrinth,” and “Dreamgirls” was hailed for best sound editing in a musical feature.
“Apocalypto” was honored for best sound editing in feature film music, and “Cars” took the prize for best sound editing in an animated feature.
The animated short “Temerario” picked up the Verna Fields Award in Sound Editing for Students.
Other winners included:
Best sound editing made for computer entertainment, “Hellgate”; direct to video, “The Fox and the Hound II”; special venue, “Deep Sea 3D”; television shortform music, the “Rio” episode of “CSI: Miami”; television shortform dialogue and ADR, “Rio” again; television shortform sound effects and foley, the “A Tale of Two Cities” episode of “Lost”; television longform music, “High School Musical”; television longform dialogue and ADR, “The Path to 9/11”; and television longform sound effects and foley, the “Battleground” episode of “Nightmares and Dreamscapes.”
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