Chapter 3
The Passing of a Tradition and Coming of Age
In the professional world of sound award achievements for film and television, the three standards are the Golden Reel Awards (Motion Picture Sound Editors Society), the Emmy (the Academy of Television Arts and Sciences), and of course the most coveted of all, the Academy Award (the Academy of Motion Picture Arts and Sciences). While the Golden Reel and the Emmy give numerous awards each year for sound for many aspects and many categories, there is only one Academy Award each year for Best Sound Editing and for Best Sound Mixing.
THE PASSING OF A TRADITION
For a quarter of a century, we had a very unique and somewhat peculiar practice of getting together on the first Tuesday of February, which was changed in the last few years to late January when the Academy Award ceremonies were moved up. We would enter the smoked-glass doors of the masonry building at Wilshire Boulevard and Almont in Los Angeles, the headquarters of the Academy of Motion Picture Arts and Sciences. The top sound craftspeople in the motion-picture industry gather, members of the Sound Branch of the Academy as well as several hundred associate observers and guests, to review those films competing for the honor of being nominated for the Academy Award for Best Sound Effect Editing, which was changed to Best Sound Editing in 2000. Only the Sound Branch Academy members are allowed to vote for the final nominations during the “bake-off” screening procedure.
Six weeks prior, the sound editor members of the Sound Branch voted by written ballot for five of their top choices from that year's nearly 400 qualifying motion pictures. Those ballots had been mailed to PricewaterhouseCoopers, at which point the seven semifinalists had been determined: those garnishing the highest number of votes by their first-through-fifth-choice ranking. Over the last few weeks, the producers of the “anxious seven” had been notified so that they could prepare a sample reel for the first Tuesday evening in February—an event affectionately known as the “bake-off,” a term coined by Richard Anderson, supervising sound editor and co-sharer of the Academy Award for Best Sound Effects Editing in 1981 (along with Ben Burtt for the action-adventure sensation Raiders of the Lost Ark).
The sample reel would contain actual clips from the release print of the picture. The soundtrack could not be enhanced, remixed, or reprinted: it must be identical to what was exhibited in the theatres. The task of choosing the clips that comprised the allotted 10 minutes in the “bake-off” was left to the supervising sound editor, as it was he or she who honchoed the preparation of the soundtrack for the re-recording mixing stage in the first place.
In the lobby, representatives from PricewaterhouseCoopers checked off the names of the voting Sound Branch members as they stepped up to identify themselves. One representative checked the names on the list as the other representative issued each voter a ballot, each assigned with a designated number for identification. The members were also given an information sheet regarding the seven pertinent feature films.
The voters headed up the staircase to the legendary Academy's Samuel Goldwyn Theater on the second floor to see and schmooze with hundreds of colleagues, many of whom have not been seen since the sound “bake-off” the previous year. The center quadrant of seats were roped off and reserved for the award-nominating committee members, so that they could listen to and judge the sound presentation of each sample reel in the acoustically ideal section.
As everybody settled down at the appointed hour, the chairman of the Sound Effects Editing Award Rules Committee would step up to the podium to review the year's rules as well as to lend a personal word of wisdom to those of us about to sit in judgment of our fellow craftspeople. This forum was not supposed to be about politics, although politics definitely deals a few wildcards from time to time. Additionally, this forum was not supposed to be about personalities, about who we liked or disliked as individuals, although there were times that it was a challenge to separate one's personal feelings and biases from the task at hand. I gazed up to see the two massive statues of Oscar on either side of the huge screen, reverently standing vigil over the presentation—here in the greatest of all theatres in the world, and I knew that as an Academy member I needed to put aside politics and personal favor. We are there not only to judge our colleagues but also to celebrate our art form and to be challenged throughout the coming year to raise our professional standards and artistic achievements accordingly.
During a lighter moment, the chairman poked a jab at the ever-rising volume of motion-picture soundtracks as he thanked all the sound craftspeople over at Warner Brothers (some 14 miles away) who could not be here tonight, but who would hear the playback of the sample reels anyway.
After 70 minutes of high-octane audio playback from SDDS, DTS, and Dolby SR-D mastered soundtracks, the audience experienced a good dose of audio fatigue. If ever there was a litmus test for considering the responsibility to monitor more reasonable volume levels, especially through sustained sequences that truly leave your ears ringing, those “bake-off” evenings were excellent reminders. Just because sound is mixed loud does not mean that it sounds better. Just because digital and the new achievements in speaker design and amplifier clarity allow sound to be brought into the theatre at ever-increasing decibel levels does not mean that it should be done.
As you read this book, consider well the power of silence. Years ago, when I walked onto Stage D at Goldwyn for the rerecording process of Escape From New York, Bill Varney, the lead mixer, turned and announced to everyone that we were going to build dynamics into the mix. We all agreed enthusiastically. Of course, at the time I did not have a clue what he meant or what he was talking about, but over the next four years and 11 pictures for which I supervised the sound editorial that mixed on Stage D, I came to learn and appreciate exactly what Bill meant.
One must bring the soundtrack down; the levels should be lowered and relaxed between the high-energy action peaks. Not only does this give the audience a chance to recover from the strength and power of the action sequences, but coming down also allows the sound to go back up again. The power and volume “appear” bigger and louder than they really are if time is taken to come down and the audience's ears are allowed to rest.
If the soundtrack constantly is active and loud, the sound has nowhere to go when it must go up for the action moments. It is exactly like riding a roller coaster: you cannot enjoy the thrill of the high-drop runs unless you have come down to the bottom, paused, and anticipated the climb back up to the top again. A great classical composer also understood this principle extremely well. Beethoven, the master of mood and drama, composed a passage with notations of adagio or largo with a pianissimo delicacy, followed by a sudden explosion of power and glory at double fortissimo with a presto urgency. Those who have listened to Beethoven's legendary “Moonlight Sonata” probably only know its melodious and moody opening movement. Those who have played this seemingly passive piece on the piano, however, surely understand my point when they dash through the third movement! Seldom are the strength and precise dexterity of the pianist's hands and fingers more greatly challenged.
So, too, the motion-picture soundtrack. While conceptualizing, designing, and executing a final soundtrack of dialog, music, and sound effects into one interwoven yet fluid and continuous audio event, the entire team of audio craftspeople does well to think in terms of dynamics—the entire roller-coaster ride.
Unfortunately, the entire sound team can design and execute the most amazing soundtrack ever, but if the director and producer do not understand the philosophy of dynamics and audio dramatization, then all the skill and efforts of the entire sound collaboration are for naught. Dynamics. It seems so obvious, so simple and basic, yet so many filmmakers fall into this trap. I discuss this and other audio philosophies more closely throughout this book, especially in Chapter 20—but you might be wondering why I took this moment to bring up the philosophy of dynamics at this time, in this chapter.
As the chairman finished his review of the rules and regulations and his duty of describing how the theatre speakers had been carefully swept and balanced for the evening's presentation, we sat and thought about literally thousands of the world's foremost theatrical sound craftspeople, most of whom are unsung heroes, who made it possible for the supervising sound editor to step to the podium on Academy Award night and accept the golden statuette for Best Sound Editing.
How many production sound mixers, boom operators, cable men, audio engineers, sound effects and dialog editors, sound assistants, sound designers, sound librarians, equipment and acoustical engineers, ADR and Foley mixers and recordists, Foley artists, Walla Group and vocal mimic performers, and many others had literally wrapped their work in an embryonic envelope of this left, center, right, and split surround-sound experience? How many long and overworked hours went into moments of the picture that we probably never fully appreciated?
The lights of the theatre dimmed as the first sample reel was about to be projected. I glanced up to one of the giant statues of Oscar. He has stood vigilant for many years, holding his golden sword as he watches over the audience. I can almost imagine he was looking at me. His smooth face has an almost omnipotent presence, silently reminding me to put any personal tendentious susceptibilities aside and to view these seven presentation reels with an objectivity worthy of the fair and idealistic judgment that Oscar represents.
THE PROCESS HAS EVOLVED
In the summer of 2006, the Academy made a major change in how the Best Sound Editing awards would be considered and voted. In many respects, they reflect most of the other disciplines, such as Best Cinematography, Best Director, Best Actor, and so on.
The tradition of gathering at the Samuel Goldwyn Theatre and reviewing the seven semi-finalists came to an end. On the one hand, it was a sad decision. Many of us had enjoyed seeing each other—in fact, many of us only saw each other annually there. However, it was time to evolve and find ways to make the process more in step with how the other disciplines were doing it—and hopefully making it a fairer and more open proposition. One of the drawbacks of the “bake-off” is that most Sound Branch members who did not live in the Los Angeles area found it very difficult to attend.
Now we will be voting for our five top choices on a mailed ballot sent out right after Christmas. The Sound Branch members will list their top choices and mail their ballot back, from which PricewaterhouseCoopers will add up the votes and the top five vote pictures will become the five nominations that will appear on the final ballot that PricewaterhouseCoopers will send out to all voting Academy members for the final vote.
This will simplify the process; it will bring more Sound Branch members who not only do not live in and around L.A. but live abroad to have an equal say, deemphasizing the L.A.-based advantage which the “bake-off” could not help but encourage. Even though I will miss the getting together, the camaraderie, the catching up on the year with others, I personally feel that the change will be healthy for the art form and open up more craftspeople throughout the world in the process. I am often asked exactly how this process works and why certain individuals are considered. The following is the exact extract from the rules and regulations of the Academy.
2006—Special Rules for the Sound Editing Award
1. A reminder list of all eligible productions shall be sent with a ballot to all members of the Academy Sound Branch who shall vote in the order of their preference for not more than five productions.
2. The five productions receiving the highest number of votes shall become the nominations for final voting for the Sound Editing Award.
3. Eligibility for this award shall be limited to the Supervising Sound Editor directly involved in and primarily responsible for the planning, creation, direction and execution of the sound design and editing for each achievement. The Supervising Sound Editor must be the primary creative decision maker and principal interpreter of the director's vision to the sound editing team. The Supervising Sound Editor must approve the sound effects and their specific placement in the film, coordinate the creation of newly designed sound and Foley effects and the editing of dialogue and ADR. The Supervising Sound Editor must oversee the recording of the pre-dubs and be present to supervise the final mix. In the event the above responsibilities are divided, both cosupervisors must adhere to the above criteria.
4. Nomination eligibility of the Supervising Sound Editor responsible for the achievement shall be determined by the Sound Editing Award Rules Committee.
5. Final voting for the Sound Editing Award shall be restricted to active and life Academy members.
Special Rules for the Sound Mixing Award
1. A reminder list of all eligible pictures shall be sent with a nominations ballot to all members of the Academy Sound Branch who shall vote in the order of their preference for not more than five productions.
2. The five productions receiving the highest number of votes shall become the nominations for final voting for the Sound Mixing Award.
3. The talents of the rerecording mixers on a panel (not to exceed three) and the production mixer will be judged as contributing equally to a sound track achievement. On an Official Data Record supplied by the Academy, the producer and the sound director shall designate the eligibility of the corerecording mixing collaborators (not to exceed three) who have contributed substantially to the final mix, and the production mixer (not to exceed one) for Academy Award purposes.
4. In the event of a credits dispute, the nomination eligibility for the Sound Mixing Award shall be determined by the Sound Branch Executive Committee.
5. Following a review of the Official Data Records, determination of nomination eligibility shall be the responsibility of the Academy, as provided in General Rule Two.
6. The Theater Sound Inspection Committee shall inspect and approve the projection sound systems of the Academy's theaters at least one week prior to the annual screening of nominated achievements. No changes may be made in the sound systems after final approval by the committee. Any production that deviates from the normal sound system, or requires modification of the system, must be approved by a majority of the committee before the final check of the system. Notification of such deviation or modification requirements must be submitted to the Academy at least three weeks in advance of the inspection and approval of the sound system. Any composite release print that plays on the normal projection sound system of the Academy's theaters requires no special approval of the committee.
7. Before screening films nominated for the Sound Mixing Award, representatives of the pictures to be shown may run a maximum of one A/B reel of their pictures to audition them. At the actual screenings, films will be run at the Academy Standard sound level.
8. Final voting for the Sound Mixing Award shall be restricted to active and life Academy members.
BUT HOW DID THEY GET HERE?
But how did these soundtracks get here? How did they survive the challenges and often stormy path to fruition? Let us go back, all the way back, even before the cameras start to roll. It all begins with the vision and dedication to achieve a work of audio art, an acoustical experience that stays with the audience. It starts with careful and realistic planning—a plan for success.