Issue link: https://digital.copcomm.com/i/1383665
52 I M PS E . O R G MATTHEW: The MPSE awards are a wonderful way to recognize the effort all of us in the post sound world put forth to create the soundscapes for the projects. It's nice to be recognized by our peers. Was there anything specifi c within the story that infl uenced your decision to take on this project? MATTHEW: Secret Hideout put a lot of love and effort into this show; and coupled with me being a long-term fan of the Star Trek universe ... it was a no-brainer. How did the pandemic change the way you and your team worked on this project? MATTHEW: Fortunately, we wrapped this season just before the pandemic hit. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? MATTHEW: I tend to look at this as a collective vision. Alex Kurtzman and Michael Chabon are the captains of that boat and we all are pulling in the same direction. Overall yes, the vision remains fairly consistent from spot to mix. However, through natural collaboration, and especially new visuals, the vision tends to morph but usually stays within the same "stanza." Outstanding Achievement in Sound Editing Feature Underscore TENET Warner Bros. Supervising Music Editor: ALEX GIBSON Music Editor: NICHOLAS FITZGERALD What was the biggest challenge you and your team faced? ALEX GIBSON, SUPERVISING MUSIC EDITOR: It's how to relay the feeling of time moving forward and backward at the same time. Why are the MPSE Awards important to you? ALEX: Nice to feel the support of peers. Was there anything specifi c within the story that infl uenced your decision to take on this project? ALEX: The time warp ideas of Christopher Nolan. How did the pandemic change the way you and your team worked on this project? ALEX: Well, halfway through, we went remote and at the end, had a skeletal crew on dub stage. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? ALEX: A few musical concepts were experimented with and fi nalized in the time between spot to fi nal. Outstanding Achievement in Sound Editing Feature Musical EUROVISION SONG CONTEST: THE STORY OF THE FIRE SAGA Netfl ix Music Editors: ALLEGRA DE SOUZA MPSE PETER OSO SNELL MPSE JON MOONEY What was the biggest challenge you and your team faced? PETER OSO SNELL, MUSIC EDITOR: Wrangling so much music from all corners of the earth. We had artists, engineers and producers all over the planet. Some basic specs to give you a sense of the magnitude and variety of music types: Film Length: Music Total: 123 minutes 88 starts Total Duration 84:40 minutes Score Cues: Source Cues: Song Cues: 27 Starts 29 Starts 32 Starts Total 26:54 Total 27:26 Total 30:20. Why are the MPSE Awards important to you? PETER: As a music editor, the academy doesn't recognize our contribution to fi lmmaking. The MPSE Awards give us a forum to get noticed when we do something remarkable. Was there anything specifi c within the story that infl uenced your decision to take on this project? PETER: Eurovision song contest is a 50-year tradition. Originally put on to pull together the countries in Europe to heal and focus on something other than recovering and rebuilding from WW2. This is a contest that most Westerners aren't "The MPSE awards are a wonderful way to recognize the e ort all of us in the post sound world put forth to create the soundscapes for the projects." –MATTHEW E. TAYLOR Supervising sound editor