Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSThe Pill Pounder.The Brussels International Fantastic Film Festival is known for audiences who talk back to the screen, but such rowdiness took a dark turn last weekend at a screening of Love Lies Bleeding (2024), during which homophobic and misogynistic taunts caused more than 60 attendees to walk out and then to stage a protest at the cinema door, which was broken up by the police.Italy’s right-wing government has left the country’s motion-picture industry stalled in uncertainty as they debate new regulations to tax incentives for film and television production, some of which may give preference to films “tied to Italy’s national identity.”Ten of thirteen IATSE locals now have tentative agreements with AMPTP. Talks...
- 4/17/2024
- MUBI
Dan Wallin, the music scoring engineer who recorded such classic film scores as “Spartacus,” “Bullitt,” “The Wild Bunch” and “Out of Africa,” died early Wednesday in Hawaii. He was 97.
Twice Oscar-nominated for best sound (1970’s “Woodstock” and 1976’s “A Star Is Born”), he won a 2009 Emmy for sound mixing on the Academy Awards telecast and received two additional Emmy nominations in the sound mixing category.
But it was Wallin’s skill behind the console, recording and mixing musical scores for movies and TV, that won him legions of fans among nearly all of Hollywood’s top composers and ensured steady employment for more than half a century.
He recorded the music for an estimated 500 films, including those for “Bonnie and Clyde,” “Cool Hand Luke” and “Finian’s Rainbow” in the 1960s; “The Way We Were,” “Blazing Saddles,” “Nashville,” “King Kong” and “Saturday Night Fever” in the 1970s; “Somewhere in Time,” “The Right Stuff...
Twice Oscar-nominated for best sound (1970’s “Woodstock” and 1976’s “A Star Is Born”), he won a 2009 Emmy for sound mixing on the Academy Awards telecast and received two additional Emmy nominations in the sound mixing category.
But it was Wallin’s skill behind the console, recording and mixing musical scores for movies and TV, that won him legions of fans among nearly all of Hollywood’s top composers and ensured steady employment for more than half a century.
He recorded the music for an estimated 500 films, including those for “Bonnie and Clyde,” “Cool Hand Luke” and “Finian’s Rainbow” in the 1960s; “The Way We Were,” “Blazing Saddles,” “Nashville,” “King Kong” and “Saturday Night Fever” in the 1970s; “Somewhere in Time,” “The Right Stuff...
- 4/10/2024
- by Jon Burlingame
- Variety Film + TV
The Oscars were built to highlight the cinematic year’s most audacious and outstanding achievements. Past snubs have left many of the industry’s finest filmmakers, actors and technical artists waiting for their first Dolby Theatre invitation. This year, multiple contenders are angling for an inaugural mention, even though it should be one of many. So who are they?
It’s always gratifying to see a veteran actor — in this case, Delroy Lindo — finally receiving the acclaim he’s deserved for his nearly 40-year career. Lindo’s role in Vietnam War drama “Da 5 Bloods,” which reunited him with director Spike Lee after 1995’s “Clockers,” could bring him his first nomination for best actor. But where were the voters in 1995 or in 1992 for “Malcolm X”?
Robin Wright hopes to drop into a very competitive Oscar race with her directorial debut “Land,” which is premiering at the Sundance Film Festival. Despite her work in “Forrest Gump,...
It’s always gratifying to see a veteran actor — in this case, Delroy Lindo — finally receiving the acclaim he’s deserved for his nearly 40-year career. Lindo’s role in Vietnam War drama “Da 5 Bloods,” which reunited him with director Spike Lee after 1995’s “Clockers,” could bring him his first nomination for best actor. But where were the voters in 1995 or in 1992 for “Malcolm X”?
Robin Wright hopes to drop into a very competitive Oscar race with her directorial debut “Land,” which is premiering at the Sundance Film Festival. Despite her work in “Forrest Gump,...
- 1/21/2021
- by Clayton Davis
- Variety Film + TV
Nominations for this year’s Academy Awards are still more than two months away, and without in-person events and screenings, distributors and awards strategists are doing their best to keep their rosters in the conversation. This marks the second year that AMPAS utilizes its Academy Screening Room (Asr), a digital platform for voting members to screen the films for awards consideration. This also marks the final year that studios and strategists will send DVDs to voters. As the entertainment industry remains crippled due to the Covid-19 pandemic, all organizations, including AMPAS, continue to navigate the difficult time, working remotely and trying to operate transparently, in a time where “I don’t know” is the norm for any plans in the world.
On Dec. 22, the Academy uploaded a robust 93 documentaries for its branch members, bringing the total number of eligible features to 215, a record-breaking number that already surpasses the 2017 record of 170. Last year,...
On Dec. 22, the Academy uploaded a robust 93 documentaries for its branch members, bringing the total number of eligible features to 215, a record-breaking number that already surpasses the 2017 record of 170. Last year,...
- 1/8/2021
- by Clayton Davis
- Variety Film + TV
I guess I could look at the win last night from the American Cinema Editors (Ace) for The Descendants for Best Editing in a dramatic feature as a sign we may still have an upset at the Oscars, but I think that would be overstepping my bounds. I will, however, say I think it shows The Descendants is a stronger #2 candidate for Best Picture than Hugo is as The Artist remains the clear front-runner in the Best Picture category as it also won last night for Best Editing in a comedy or musical. In the lackluster animation category Rango took the win over Puss in Boots and The Adventures of Tintin where, I guess, we could have seen Tintin win, but I'm having a hard time mustering up any kind of passion one way or another to really care. The Ace winners are listed below along with the other nominees.
- 2/19/2012
- by Brad Brevet
- Rope of Silicon
2012 Oscar Predictions: Sound Mixing Contenders as the Cinema Audio Society Announces their Nominees
Two categories I have yet to predict in my Oscar predictions are Best Sound Editing and Sound Mixing, primarily because I've been waiting for the Cinema Audio Society (Cas) and Motion Picture Sound Editors (Mpse) to weigh in with their nominees. Today, the Cas delivered and I'm expecting the results from the Mpse today or tomorrow as we are now only a few days away from the Oscar nominations. As for the Cas noms, over the last five years there has been a pretty good track record of the nominees matching Oscar's nominees. From 2006-2009 the nominees matched four out of the five Oscar nominees. Last year, however, was a bit different as only two of the five nominees matched. This year, I'm aiming for four of the five nominees to match once again as my only difference is I have Transformers: Dark of the Moon in my top five over Moneyball.
- 1/19/2012
- by Brad Brevet
- Rope of Silicon
Strangely enough, it was quite a while before I owned an actual score album for Star Wars. My parents, in a moment of thrifty but well-intentioned genius, brought home the Electric Moog Orchestra LP for my consumption instead (!). I still have that album, by the way.
Maybe it was a sign, because I've been doing exactly that same thing—i.e., faking the sound of an orchestra with my synth rig—pretty much my whole career. It's something I've been specifically hired for again and again. So I have to thank the Electric Moog Orchestra for showing me the way.
…But enough on that! Star Wars was for me what I suspect it is for many people of a certain age: the film score to end all film scores. The inspiration to get into this crazy business. The Grail, as it were. Although that's a whole other John Williams score.
Maybe it was a sign, because I've been doing exactly that same thing—i.e., faking the sound of an orchestra with my synth rig—pretty much my whole career. It's something I've been specifically hired for again and again. So I have to thank the Electric Moog Orchestra for showing me the way.
…But enough on that! Star Wars was for me what I suspect it is for many people of a certain age: the film score to end all film scores. The inspiration to get into this crazy business. The Grail, as it were. Although that's a whole other John Williams score.
- 6/29/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
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