Podcast appearances and mentions of gary rydstrom

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Smid en besked :)Halløj kære lyttere på baggrund af vores introduktion af Jurassic Park I Cinema4 d. 29 September i Skive har vi en gennemgang af filmen klar til jer. Vi glæder os meget til at se jer.Men vi skal på eventyr med dinosaurer, Sam Neil, Laura Dern, Jeff Goldblum, Richard Attenborough og Samuel L. Jackson. Folk bliver ædt, skubbet ud over en kløft og zappet. Alt går galt med verdens største rovdyr tilsat en vild omgang lyd af Gary Rydstrom og et ikonisk score af John Williams. En fuldstændig vanvittig flot film. Lyt med når vi tager på eventyr.mvh FilmfædreDennis  Lemming og Martin Stilund

Brothers Pete and Paul Escarcega, joined by Pete Busch and Jake Fenske, revisit one of Arnold Schwartzeneggar's best films, "Terminator 2: Judgement Day."Terminator 2: Judgment Day - 1991 - Rated R - 2h 17mA cyborg, identical to the one who failed to kill Sarah Connor, must now protect her ten year old son John from an even more advanced and powerful cyborg.Director: James CameronWriters: James Cameron, William WisherStars: Arnold Schwarzenegger, Linda Hamilton, Edward FurlongIMDB Rating: 8.6Metascore: 75Budget: $102 MillionBox Office Worldwide: $502 MillionTop rated movie #28Won 4 Oscars39 wins & 33 nominations total1992 Nominee Oscar - Best Cinematography: Adam Greenberg1992 Winner Oscar - Best Sound: Tom Johnson, Gary Rydstrom, Gary Summers, Lee Orloff, Mark Goldblatt1992 Nominee Oscar - Best Film Editing: Conrad Buff IV, Mark Goldblatt, Richard A. Harris1992 Winner Oscar - Best Effects, Sound Effects Editing: Gary Rydstrom, Gloria S. Borders, Dennis Muren1992 Winner Oscar - Best Effects, Visual Effects: Dennis Muren, Stan Winston, Gene Warren Jr., Robert Skotak1992 Winner Oscar - Best Makeup: Stan Winston, Jeff DawnThe group also picks their Top 5 Arnold Schwartzeneggar Films and Best James Cameron Movies!To listen to other episodes with Jake Fenske and Pete Busch:, tune in here:"Rocky IV"https://youtu.be/LVZ1I1iNs1M"Die Hard"https://youtu.be/yH8Fm3Vp8XA"Back to the Future"https://youtu.be/m2aBAf8N-cg"The Karate Kid"https://youtu.be/MDLIOhnVJkw"Top Gun"https://youtu.be/DHUQ9z5poywTo listen on Apple Podcast:https://podcasts.apple.com/us/podcast/aaaction-podcast/id1634666134To listen on Spotify:https://open.spotify.com/show/1L78fn3C6RlKKdUihtiLyR?si=f31450db95724290Please like and subscribe to the Aaaction podcast for more movie news and reviews!https://www.youtube.com/channel/UCzJFoiUHvdbaHaiIfN37BaQ#aaactionpodcast #podcast #film #movie #moviereview #classicmovies #tombstone #rocky #moviepodcast #terminator #terminator2judgmentday #arnoldschwarzenegger #scifi #jamescameron #sarahconnor #johnconnor #judgementday #top5 

Jim Hill starts off this week's show with a solo news section. Then Drew Taylor joins the fun in a pre-taped segment that looks back at Gary Rydstrom's animated films Over the course of this episode, listeners will learn about: How many Annie nominations did Pixar's “Elemental” receive this year Which William Shakespeare play provided the inspiration for “Strange Magic” What Pixar movie were the blobby alien characters seen in “Lifted” originally designed for When is the sequel to “Winnie the Pooh: Blood & Honey” supposed to arrive in theaters How well did Pixar's “Soul” do when it was finally released to theaters earlier this month Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim Hill starts off this week's show with a solo news section. Then Drew Taylor joins the fun in a pre-taped segment that looks back at Gary Rydstrom's animated films Over the course of this episode, listeners will learn about: How many Annie nominations did Pixar's “Elemental” receive this year Which William Shakespeare play provided the inspiration for “Strange Magic” What Pixar movie were the blobby alien characters seen in “Lifted” originally designed for When is the sequel to “Winnie the Pooh: Blood & Honey” supposed to arrive in theaters How well did Pixar's “Soul” do when it was finally released to theaters earlier this month Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Art Heals All Wounds, I interview longtime friend Gwen Whittle, a supervising sound editor and three-time Academy Award nominee for the films Avatar, Tron Legacy, and Avatar, The Way of Water. We discuss Gwen's journey from New York to San Francisco, her experiences in the sound editing industry, and the importance of sound in storytelling. We both share stories of belonging and the impact of travel on our perspectives and the importance of listening. Don't forget to go to my website and leave me YOUR story of belonging to feature on a future episode!Buy Me a Coffee!Follow Gwen!Gwen's Page on IMDbFollow Me!●      My Instagram ●      My LinkedIn●      Art Heals All Wounds Website●      Art Heals All Wounds Instagram●      Art Heals All Wounds Facebook

Peter J. Devlin, recently elected as a Governor of the Academy of Motion Pictures Arts and Sciences, has worked on more than 70 films and been nominated for five Oscars including Black Panther, Transformers: Dark Side of the Moon, Transformers, Star Trek (2009) and Pearl Harbor. He received a BAFTA nomination for his work on Star Trek and a Primetime Emmy nomination for Star Trek: Picard. He has worked closely with some of the top directors in film, including Michael Bay, Ryan Coogler, Ron Howard and Patty Jenkins. Earlier in the year he wrapped his work on Black Panther: Wakanda Forever, and is thrilled to have just worked with Chris Pine, who is making his directorial debut with the upcoming film Poolman. A past CAS Board member, it was his first CAS nomination for Oliver Stone's Any Given Sunday that introduced him to the organization in 2000. Since then, he has received multiple nominations. Born and raised in Belfast, Northern Ireland, Devlin knew that he wanted to work in film after seeing Jaws as a teenager. Though his school principal told him his dreams were “pie in the sky,” he applied for a trainee audio assistant position at the BBC in Belfast in 1981. Initially thinking he might move into the camera department, he quickly realized his true interest was in production sound. To prepare for the interview, he spent his days in the local library reading as much about microphone principles, recording techniques and filmmaking as he could find. He got the job, which proved the perfect training ground, with the BBC's wide range of productions, from news, to sports, to concerts and to radio drama. “I had great mentors, and I learned about all of the different disciplines of sound there.” Devlin's focus and persistence were evident as he took the next step, writing to directors he admired, including Michael Mann. He still has the letter Mann sent him in 1987, inviting him to visit the set of Miami Vice. From there, Devlin forged connections with others in the industry, landing his first job in the United States, working in commercials. Eventually, he moved into television and film. Today, Devlin continues to adapt to the ever-changing technologies that enhance storytelling through production sound mixing. While he wishes that he had today's tech for some of the films he worked on in the past, he says, “The most important element will always be the work of the sound department as a team, boom operators and sound utilities. Their expertise allows me to concentrate on recording performance and create tracks that can elevate a scene when they are handed off to our colleagues in post production.” Devlin joins an illustrious group of past CAS Career Achievement Honorees including: Anna Behlmer, Willie Burton, Tom Fleischman, Les Fresholtz, Ed Greene, Tomlinson Holman, Doc Kane, William B. Kaplan, David MacMillan, Paul Massey, Scott Millan, Mike Minkler, Walter Murch, Andy Nelson, Chris Newman, Lee Orloff, Richard Portman, John Pritchett, Don Rogers, Gary Rydstrom, Dennis Sands, Randy Thom, Jim Webb, Jeffrey S. Wexler and Charles Wilborn.

It's not often that you get a chance to chat with living legends and Paul has found himself in conversation with the Oscar® winning maestro of movie sound Gary Rydstrom and cinema scholar Gianluca Sergi as they discuss their new book “The Endless End of Cinema,” early experiments with surround sound, the history of movie theaters, how you never can count out the big screen experience and much more.See omnystudio.com/listener for privacy information.

In this episode we have two absolutely all-timers join us for a fun talk about their long standing working relationship and their earliest memories of going to the movies. After that we dig deep into the soundscape of The Fablemans, director Steven Spielberg's latest and most personal film to date. Show Notes: https://tonebenderspodcast.com/210---gary-rydstrom--andy-nelson-from-the-fabelmans/ Podcast Home Page: www.tonebenderspodcast.com Tonebenders Host this episode: Timothy Muirhead

Gianluca Sergi is a professor of Film at the University of Nottingham. He specialises in sound, and his research and contacts have taken him to places such as Skywalker Ranch, Pixar, Dolby, The Oscars and Industrial Light and Magic. Shortly to Publish a book with Oscar winning sound designer Gary Rydstrom, Gianluca talks about how the relationship between academia and Hollywood came about, how we met, discovered a love of wine, and how not to make an entrance at the Academy of Film.  If you like what you hear, and you can afford it, you can make a one-off donation to us via:https://ko-fi.com/coupleofdrips If you love what you hear, and would like to support us regularly, then please click on the “Support” button in your podcast app of choice. This allows you to listen ad-free and will shortly give you access to bonus content. We hope to have more membership tiers in the future.  Want to add us to your RSS reader? No problem, here is the link Links to things we talked about:Pact Coffee Guest Links: The Endless Ends of Cinema - bookVanity Fair – articleGianluca's LinkedInGianluca's university profile Thanks for listening and don't forget to subscribe and look out for us on the first Friday of every month!   Become a member at https://plus.acast.com/s/acod. Hosted on Acast. See acast.com/privacy for more information.

The American composer Mason Bates wrote Philharmonia Fantastique to a commission from a host of major US orchestras (Chicago Symphony Orchestra, Dallas Symphony Orchestra, National Symphony Orchestra, Pittsburgh Symphony Orchestra, San Francisco Symphony and the American Youth Symphony). It was recorded for Sony Classical by the Chicago SO under Edwin Outwater and released earlier this year. Now an animated film by Academy Award-winning sound designer Gary Rydstrom, and featuring the work of Jim Capobianco, has been made using the same soundtrack. (It will be available from November 4 to rent or purchase in 4K and surround-sound on the AppleTV app and to stream on Apple Music.) Gramophone's Editor, Martin Cullingford, spoke to Mason Bates about the work and the new animated film. Gramophone Podcasts are made in association with Wigmore Hall, sponsors of the 2022 Chamber Award.   

Legendary sound designer and re-recording mixer Gary Rydstrom joins us once again, this time to discuss his groundbreaking work on Steven Spielberg's classic film, "Jurassic Park" (1993), ahead of the upcoming premiere of the final film in the franchise — "Jurassic World: Dominion." Amazingly, even nearly 30 years later, Rydstrom's work on the original film still holds up incredibly well. "I have a theory that — especially in the early days of computer graphics — sound needed to be real. Even more so, like real sounds. Synthesized sounds are hard to do [and] not so interesting, usually. So I knew we needed to be real. But in this case, it has to ground visuals that you can't believe, right? So the sound had to be organic and real. So the first thing I did is record as many animals as I could." — Gary Rydstrom, Sound Designer and Re-recording Mixer, "Jurassic Park" (1993) Rydstrom and his team recorded dozens of animals and layered those tracks together to create the unforgettable sounds of the dinosaurs, as showcased in the behind-the-scenes documentary: "The Making of 'Jurassic Park,'" directed by John Schultz, which we feature in today's episode: https://www.imdb.com/title/tt0256908/ (https://www.imdb.com/title/tt0256908/) "Jurassic World: Dominion" will be available in theaters on June 10th in Dolby Vision® and Dolby Atmos®, where available. https://www.jurassicworld.com/ (https://www.jurassicworld.com/) Please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). 

Philharmonia Fantastique: The Making of the Orchestra is a 25-minute concerto for orchestra &animated film that flies through the instruments of the orchestra to explore the age-old connection between creativity and technology. PhilharmoniaFantastique is a collaboration between composer and DJ Mason Bates, Oscar-winning director and sound designer Gary Rydstrom, and animator Jim Capobianco. Guided by a magical Sprite, we see violin strings vibrate, brass valves slice the air, and drum heads resonate. Imaginatively blending traditional and modern animation styles, it is a kinetic and cutting edge guide to the orchestra. By the film's end, the orchestra overcomes its differences to demonstrate “unity from diversity” in a spectacular finalePurchase the music (without talk) at:Philharmonic Fantastique (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

Museum Founder Steve Lee and his co-host Richard Anderson chat with multiple Oscar-winning Sound Designer & Re-recording Mixer, Gary Rydstrom ("Jurassic Park," "Saving Private Ryan," "Terminator 2," and many others). Make a tax deductible donation to the Museum and subscribe to our Patreon page: www.HollywoodSoundMuseum.org Contact us: SoundMuseumPodcast@gmail.com #KeepListening! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

0:00 - Introduction Welcome to the Juras-Sick Park-Cast podcast, the Jurassic Park podcast about Michael Crichton's 1990 novel Jurassic Park, and also not about that, too.  Find the episode webpage at: Episode 9 - Skeleton. 9:46 - Guest interview with Jamie Reaume 25:00 - The Shining's influence on Jurassic Park 37:00 - Foreign Film Star sample music  43:00 - Jurassic Park trivia In this episode, my terrific guest Jamie Reaume chats with me about:  Ace Ventura When Nature Calls, Christmas Cards, The Chatham Capitol Theatre, Dune, special effects, Michael Keaton's Batman, The Dark Knight, classic Hollywood, Brachiosaurus, velociraptors, sound design, adopting Costa Rican culture in the sound design, The Shining, Jack, plaigiarism v. tribute, Blues, Led Zepplin, learning to play guitar, 1993, layering sounds, Gary Rydstrom , tyrannosaurus sound design, velociraptor sound design, posterizable moments, Ninja T-Rex, mating sounds, music production, No Country for Old Men, Tommy Lee Jones, Robert Muldoon, trivia, Dances With Wolves, runtimes, Weird Al, Daniel Radcliff, Ian Malcolm, Godzilla soundtrack, sampling roars, Aerosmith, Living on the Edge, Spoonman, Metallica, performing live, and what I like about poo (you'll see).   You can find Jamie Reuame at Shapes Guitar Lessons.com where he's an instructor, and he's co-host of Trivia Schmivia.com and you can find his musical catalogue on Youtube. Musical samples come from Safe Trip (kitchen pot, with his fingertips); The Ones and Zeros of Digital Rain (playing glasses of water); and Beautiful Pulse (with the funky outro).  3:40 - Fossil evidence of the avian vocal organ from the Mesozoic 5:44 - Voices of the past: a review of Paleozoic and Mesozoic animal sounds Plus dinosaur news about: Fossil evidence of the avian vocal organ from the Mesozoic Voices of the past: a review of Paleozoic and Mesozoicanimal sounds 0:47 - Music by Snale the rock band. Featuring the music of Snale https://snalerock.bandcamp.com/releases  Intro: Latebloomer. Outro: Grow Old or Don't. Text This week's chapter is Skeleton, pages spanning from 42 - 48. Synopsis Alice Levin's X-Ray of the biting lizard shocks Grant and Ellie, who diagnose it as a procompsognathus, and consider if it's a hoax or a rediscovery, before Hammond calls to invite them to inspect his new island. 1:05:57 - Analyzing the literary and stylistic techniques 1:11:40 - Discussions on the allusions, the MacGuffin, Building  a Mystery, the portrayal of women, Control as a Hoax, Timeline, and responsibility and safety. Discussions surround:  Allusions to the Piltdown man, coelocanth's rediscovery, archaeopteryx, Fred Hoyle, the real procompsognathus triassicus, responsibility and safety, heroes and villains, Hammond's ironic comments on character, paleontology, costly digging, Child of the 80s, the Portrayal of Women, Hoaxes are Omnipresent, Timeline, Due Diligence, MacGuffins, and Building a Mystery.   Side effects vary from minor problems like a runny nose to life-threatening events:  Find it on iTunes, on Spotify (click here!) or on Podbean (click here). Thank you! The Jura-Sick Park-cast is a part of the Spring Chickens banner of amateur intellectual properties including the Spring Chickens funny pages, Tomb of the Undead graphic novel, the Second Lapse graphic novelettes, The Infantry, and the worst of it all, the King St. Capers. You can find links to all that baggage in the show notes, or by visiting the schickens.blogpost.com or finding us on Facebook, at Facebook.com/SpringChickenCapers or me, I'm on twitter at @RogersRyan22 or email me at ryansrogers-at-gmail.com.  Thank you, dearly, for tuning in to the Juras-Sick Park-Cast, the Jurassic Park podcast where we talk about the novel Jurassic Park, and also not that, too. Until next time!  #JurassicPark #MichaelCrichton

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24 de marzo | Nueva YorkHola, maricoper. Te escribo mientras me bebo un café y me como un quesito, un dulce de hojaldre puertorriqueño. Tengo muchas ganas de escribir esta newsletter porque es el clímax de la temporada de premios y porque estos días soy muy feliz de hacer mi trabajo y de que me leas con atención. Gracias por estar ahí.Bienvenido a La Wikly diaria. Esta vez, te traigo una edición especial con mi quiniela de los Premios Oscar en exclusiva antes de desvelar mis opiniones en el stream del viernes. Volveremos con titulares y una sorpresita más mañana viernes.Si quieres comentar las noticias en nuestro servidor de Discord, usa este enlace.Y si quieres acceso a los canales exclusivos para suscriptores premium, responde directamente a este email con tu nombre de usuario en Discord.Comparte esta newsletter con familiares y amigos para que se pongan al día:Leer esta newsletter te llevará 7 minutos y 2 segundos.¡Anakin! Bienvenido a La Wikly.🏆 ¿Sorpresa en Hollywood?Por Emilio DoménechLo importante: la gala de los Oscar tiene previsto celebrarse este domingo y la expectación es que la gran favorita desde hace meses puede acabar perdiendo la estatuilla a Mejor Película.Sí, El poder del perro iba encaminada a darle el primer Oscar a Mejor Película a Netflix, pero las tornas han cambiado a favor de CODA en apenas una semana.Pero no nos adelantemos a los acontecimientos. A continuación, un repaso a todas las categorías de los Oscar con mis predicciones de las ganadoras, mis favoritas de las nominadas y las menciones que creo que se han olvidado este año.Aviso 1: tengo pendientes varias películas y por eso me reservaré mi opinión en algunas categorías para cuando ponga todo al día, que será el domingo a ultimísima hora antes de empezar el stream especial de la ceremonia.Aviso 2: en algunas categorías no he incluido la opción ‘debería estar nominada’ porque no tengo nada mejor que ofrecer.Aviso 3: las explicaciones de las categorías las desarrollo en el podcast, que si no esto habría sido una maldita Biblia.💥 Efectos visualesDUNEPaul Lambert, Tristan Myles, Brian Connor y Gerd NefzerFree GuySwen Gillberg, Bryan Grill, Nikos Kalaitzidis y Dan SudickNo Time to DieCharlie Noble, Joel Green, Jonathan Fawkner y Chris CorbouldShang-Chi and the Legend of the Ten RingsChristopher Townsend, Joe Farrell, Sean Noel Walker y Dan OliverSpider-Man: No Way HomeKelly Port, Chris Waegner, Scott Edelstein y Dan SudickGANARÁ: DuneDEBERÍA GANAR: Dune🔊 SonidoDUNEMac Ruth, Mark Mangini, Theo Green, Doug Hemphill y Ron BartlettBelfastDenise Yarde, Simon Chase, James Mather y Niv AdiriNo Time to DieSimon Hayes, Oliver Tarney, James Harrison, Paul Massey y Mark TaylorThe Power of the DogRichard Flynn, Robert Mackenzie y Tara WebbWest Side StoryTod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson y Shawn MurphyGANARÁ: DuneDEBERÍA GANAR: West Side StoryDEBERÍA ESTAR NOMINADA: The Last Duel💄 Maquillaje y peluqueríaTHE EYES OF TAMMY FAYELinda Dowds, Stephanie Ingram y Justin RaleighComing 2 AmericaMike Marino, Stacey Morris y Carla FarmerCruellaNadia Stacey, Naomi Donne y Julia VernonDuneDonald Mowat, Love Larson y Eva von BahrHouse of GucciGöran Lundström, Anna Carin Lock y Frederic AspirasGANARÁ: Los ojos de Tammy FayeDEBERÍA GANAR: Dune👗 Diseño de vestuarioDUNEJacqueline West and Robert MorganCruellaJenny BeavanCyranoMassimo Cantini Parrini y Jacqueline DurranNightmare AlleyLuis SequeiraWest Side StoryPaul TazewellGANARÁ: DuneDEBERÍA GANAR: DuneDEBERÍA ESTAR NOMINADO: Mark Bridges por Licorice Pizza🏰 Diseño de producción DUNEDiseño de producción: Patrice Vermette; Decoración de set: Zsuzsanna SiposNightmare AlleyDiseño de producción: Tamara Deverell; Decoración de set: Shane VieauThe Power of the DogDiseño de producción: Grant Major; Decoración de set: Amber RichardsThe Tragedy of MacbethDiseño de producción: Stefan Dechant; Decoración de set: Nancy HaighWest Side StoryDiseño de producción: Adam Stockhausen; Decoración de set: Rena DeAngeloGANARÁ: DuneDEBERÍA GANAR: DuneDEBERÍAN ESTAR NOMINADAS: Sarah Greenwood y Katie Spencer por Cyrano🎼 Canción original“NO TIME TO DIE” DE NO TIME TO DIEMúsica y letras de Billie Eilish y Finneas O’Connell“Be Alive” from King RichardMúsica y letras de DIXSON y Beyoncé Knowles-Carter“Dos Oruguitas” from EncantoMúsica y letras de Lin-Manuel Miranda“Down To Joy” from BelfastMúsica y letras de Van Morrison“Somehow You Do” from Four Good DaysMúsica y letras de Diane WarrenGANARÁ: “No Time To Die” de No Time To DieDEBERÍA GANAR: “Dos Oruguitas” de EncantoDEBERÍA ESTAR NOMINADA: “Every Letter” de Cyrano🎻 MúsicaDUNEHans ZimmerDon’t Look UpNicholas BritellEncantoGermaine FrancoMadres ParalelasAlberto IglesiasThe Power of the DogJonny GreenwoodGANARÁ: DuneDEBERÍA GANAR: DuneDEBERÍA ESTAR NOMINADO: Jonny Greenwood por Licorice Pizza🎞 MontajeDUNEJoe WalkerDon’t Look UpHank CorwinKing RichardPamela MartinThe Power of the DogPeter SciberrasTick, Tick…Boom!Myron Kerstein and Andrew WeisblumGANARÁ: DuneDEBERÍA GANAR: DuneDEBERÍAN ESTAR NOMINADOS: Sarah Broshar y Michael Kahn por West Side Story📸 FotografíaTHE POWER OF THE DOGAri WegnerDuneGreig FraserNightmare AlleyDan LaustsenThe Tragedy of MacbethBruno DelbonnelWest Side StoryJanusz KaminskiGANARÁ: The Power of the DogDEBERÍA GANAR: DuneDEBERÍAN ESTAR NOMINADOS: Paul Thomas Anderson y Michael Bauman por Licorice Pizza🦊 Película animadaENCANTOJared Bush, Byron Howard, Yvett Merino y Clark SpencerFleeJonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen y Charlotte De La GournerieLucaEnrico Casarosa y Andrea WarrenThe Mitchells vs. the MachinesMike Rianda, Phil Lord, Christopher Miller y Kurt AlbrechtRaya and the Last DragonDon Hall, Carlos López Estrada, Osnat Shurer y Peter Del VechoGANARÁ: EncantoDEBERÍA GANAR: Raya y el último dragónDEBERÍAN ESTAR NOMINADA: Belle de Mamoru Hosoda📹 Película documentalSUMMER OF SOUL (…Or, When the Revolution Could Not Be Televised)Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent y David DinersteinAscensionJessica Kingdon, Kira Simon-Kennedy y Nathan TruesdellAtticaStanley Nelson y Traci A. CurryFleeJonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen y Charlotte De La GournerieWriting with FireRintu Thomas y Sushmit GhoshGANARÁ: Summer of Soul🌍 Película internacionalDRIVE MY CAR (Japón)Ryûsuke HamaguchiFlee (Dinamarca)Jonas Poher RasmussenThe Hand of God (Italia)Paolo SorrentinoLunana: A Yak in the Classroom (Bután)Pawo Choyning DorjiThe Worst Person in the World (Noruega)Joachim TrierGANARÁ: Drive My CarDEBERÍA GANAR: The Worst Person in the WorldNOTA: No he visto Flee ni Lunana✍️ Guion originalLICORICE PIZZAEscrita por Paul Thomas AndersonBelfastEscrita por Kenneth BranaghDon’t Look UpGuion de Adam McKay; Historia de Adam McKay y David SirotaKing RichardEscrita por Zach BaylinThe Worst Person in the WorldEscrita por Eskil Vogt y Joachim TrierGANARÁ: Licorice PizzaDEBERÍA GANAR: Licorice PizzaDEBERÍA ESTAR NOMINADA: Emma Seligman por Shiva Baby📚 Guion adaptadoTHE POWER OF THE DOGEscrita por Jane CampionCODAEscrita por Siân HederDrive My CarEscrita por Ryusuke Hamaguchi y Takamasa OeDuneEscrita por Jon Spaihts, Denis Villeneuve y Eric RothThe Lost DaughterEscrita por Maggie GyllenhaalGANARÁ: The Power of the DogDEBERÍA GANAR: DuneDEBERÍA ESTAR NOMINADO: Tony Kushner por West Side StoryNOTA: No he visto The Lost Daughter🎭 Actor secundarioTROY KOTSURCODACiarán HindsBelfastJesse PlemonsThe Power of the DogJ.K. SimmonsBeing the RicardosKodi Smit-McPheeThe Power of the DogGANARÁ: Troy KotsurDEBERÍA GANAR: Troy KotsurDEBERÍA ESTAR NOMINADO: Mike Faist por West Side StoryNOTA: No he visto Being the Ricardos🎭 Actriz secundariaARIANA DEBOSEWest Side StoryJessie BuckleyThe Lost DaughterJudi DenchBelfastKirsten DunstThe Power of the DogAunjanue EllisKing RichardGANARÁ: Ariana DeBoseDEBERÍA GANAR: Ariana DeBoseDEBERÍA ESTAR NOMINADA: Marlee Matlin por CODANOTA: No he visto The Lost Daughter🎭 Actor protagonistaWILL SMITHKing RichardJavier BardemBeing the RicardosBenedict CumberbatchThe Power of the DogAndrew Garfieldtick, tick…Boom!Denzel WashingtonThe Tragedy of MacbethGANARÁ: Will SmithDEBERÍA ESTAR NOMINADO: Peter Dinklage por CyranoNOTA: No he visto Being the Ricardos ni The Tragedy of McBeth🎭 Actriz protagonistaPENÉLOPE CRUZMadres paralelasJessica ChastainThe Eyes of Tammy FayeOlivia ColmanThe Lost DaughterNicole KidmanBeing the RicardosKristen StewartSpencerGANARÁ: Penélope CruzDEBERÍAN ESTAR NOMINADAS: Renate Reinsve por The Worst Person in the World, Alana Haim por Licorice Pizza y Jodie Comer por The Last Duel. Esta categoría es un puto desastre.NOTA: No he visto ni The Lost Daughter, ni Being the Ricardos, ni The Eyes of Tammy Faye. Vale, soy un ignorante hipócrita.🎥 DirecciónJANE CAMPIONThe Power of the DogKenneth BranaghBelfastRyusuke HamaguchiDrive My CarPaul Thomas AndersonLicorice PizzaSteven SpielbergWest Side StoryGANARÁ: Jane CampionDEBERÍA GANAR: Paul Thomas AndersonDEBERÍA ESTAR NOMINADO: Denis Villeneuve por Dune🎬 PelículaCODAPhilippe Rousselet, Fabrice Gianfermi y Patrick WachsbergerBelfastLaura Berwick, Kenneth Branagh, Becca Kovacik y Tamar ThomasDon’t Look UpAdam McKay y Kevin MessickDrive My CarTeruhisa YamamotoDuneMary Parent, Denis Villeneuve y Cale BoyterKing RichardTim White, Trevor White y Will SmithLicorice PizzaSara Murphy, Adam Somner y Paul Thomas AndersonNightmare AlleyGuillermo del Toro, J. Miles Dale y Bradley CooperThe Power of the DogJane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning y Roger FrappierWest Side StorySteven Spielberg y Kristie Macosko KriegerGANARÁ: CODADEBERÍA GANAR: Licorice PizzaDEBERÍAN ESTAR NOMINADAS: The Worst Person in the World y The Last Duel👾 En el DiscordUn retazo de Maricopa Land@Lady Blue y @Alirp han hecho una quiniela de los Oscars para quien quiera participar. Te dejo el enlace por aquí para que hagas tus votaciones. Y que sepas que puedes pasarte por el canal específico de #Oscars en el que estaremos siguiendo todo sobre la ceremonia en los próximos días.La Wikly es una newsletter joven e independiente que se mantiene con el apoyo de los suscriptores de pago. Súmate al proyecto:Feliz jueves, This is a public episode. Get access to private episodes at www.lawikly.com/subscribe

We are joined by Gary Rydstrom to talk about his recent Oscar nominated work on the latest Steven Spielberg film, West Side Story. He also tells us about his sound design philosophies, how slipping sound/picture sync can change everything and lots more. Show Notes & Full Transcript: https://tonebenderspodcast.com/189-gary-rydstrom/ Podcast Homepage: https://tonebenderspodcast.com

Welcome to our continuing coverage of this year's Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order: BELFAST: Denise Yarde, Simon Chase, James Mather and Niv Adiri DUNE: Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett NO TIME TO DIE: Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor THE POWER OF THE DOG: Richard Flynn, Robert Mackenzie and Tara Webb WEST SIDE STORY: Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy Each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue: 0:01:33 - BELFAST - https://www.youtube.com/watch?v=nvNkqKN7B4c (from episode 104, December 9, 2021) Sir Kenneth Branagh — Director, Writer, and Producer  Simon Chase — Sound Supervisor and Re-recording Mixer Niv Adiri — Academy Award-Winning Re-recording Mixer James Mather — Sound Supervisor 0:16:56 - DUNE - https://www.youtube.com/watch?v=eWV3Om6oHCM (from episode 99, October 26, 2021) Denis Villeneuve — Director, Writer, and Producer Mark Mangini — Supervising Sound Editor Theo Green — Sound Designer / Supervising Sound Editor Ron Bartlett — Re-recording Mixer 0:33:02 - NO TIME TO DIE - https://www.youtube.com/watch?v=ATB8ieuq1WI (from episode 101, November 10, 2021) Oliver Tarney — Supervising Sound Editor Paul Massey — Re-recording Mixer Mark Taylor — Re-recording Mixer 0:46:04 - THE POWER OF THE DOG - https://www.youtube.com/watch?v=o7tHu7hW370 (from episode 105, December 13, 2021) Jane Campion — Director, Writer, and Producer Robert Mackenzie — Supervising Sound Editor Dave Whitehead — Sound Designer Tara Webb — Re-recording Mixer (1st nom) 0:57:39 - WEST SIDE STORY - https://www.youtube.com/watch?v=VjubJvkMG6U (from episode 114, February 22, 2022) Gary Rydstrom - Re-recording Mixer, Supervising Sound Editor, Sound Designer Shawn Murphy - Scoring Mixer Brian Chumney - Supervising Sound Editor Tod A. Maitland - Sound Mixer Andy Nelson - Re-recording Mixer Many thanks to all the studios for helping us pull these interviews together! Be sure to check out https://www.focusfeatures.com/belfast (BELFAST), https://www.dunemovie.com/ (DUNE), https://www.unitedartistsreleasing.com/007-no-time-to-die/ (NO TIME TO DIE), https://www.netflix.com/title/81127997 (THE POWER OF THE DOG), and https://www.20thcenturystudios.com/movies/west-side-story (WEST SIDE STORY) before Oscars voting ends! We have two more episodes just like this one — for the Best Cinematography and Best Animated Feature categories —  coming up. So if you haven't already, please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). 

If it seems like the Hollywood musical is making a comeback, that's because, in many ways, it is. And after decades of promising to one day direct one, legendary filmmaker Steven Spielberg finally decided to tackle a new interpretation of "West Side Story." The film is now nominated for seven Academy Awards, including Best Cinematography, Best Director, Best Picture, and Best Sound. Joining us today is the sound team behind this film, who collectively took great pains to use as many modern recording techniques available to them to create this impressive, cutting-edge soundtrack. Gary Rydstrom - Re-recording Mixer / Sound Designer / Supervising Sound Editor - this is his 20th  Academy Award nomination (seven wins) Shawn Murphy - Scoring Mixer - fourth nomination (one win) Brian Chumney - Supervising Sound Editor - first nomination Tod A. Maitland - Sound Mixer - fifth nomination Andy Nelson - Re-recording Mixer - 22nd nomination (two wins) "I think the most remarkable thing in this movie is you never, for one second, don't believe that the singing you're hearing, or the acting you're hearing, is not happening on that set. It feels completely believable at every time. And seamlessly goes in and out of the music. I've never heard a musical be that seamless before. I think that's one of the great achievements of this particular movie." — Gary Rydstrom, Re-recording Mixer / Sound Designer / Supervising Sound Editor, "West Side Story" https://www.20thcenturystudios.com/movies/west-side-story ("West Side Story" is now playing in cinemas) and will be streaming on HBO Max and Disney+ as of March 2, 2022.  Please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). 

En 1993, Steven Spielberg révolutionne le cinéma, les effets spéciaux et les jouets avec Jurassic Park. Dans ce film mythique, une famille croise de nombreuses espèces de dinosaures dans un parc d'attractions d'un nouveau genre. Et spoiler : ça ne se passe pas bien. Ils crient. La famille, les dinos, l'avocat sur les toilettes, TOUT LE MONDE CRIE.Le problème pour Spielberg et son équipe, c'est : comment créer les cris des dinosaures sachant que l'Homme n'en a jamais entendu ?C'est le travail de Gary Rydstrom, le designer sonore du film. Et il va utiliser les sons de la nature, ceux d'animaux vivants en colère. On vous raconte.Abonnez vous aux podcasts Konbini pour ne rater aucun épisode ! ____Auteur et VO : Aurélien Chapuis | Podcast producer, réalisation audio : Robin Riccitiello | Mix et edit : Manuel Lormel |

Q&A on sound design for West Side Story with Gary Rydstrom, Sup Sound Ed/Designer/Re-record Mix, Brian Chumney, Sup Sound Ed, Andy Nelson, Re-Record Mix, Tod Maitland, Sound Mixer, Shawn Murphy, Film Music Mixer. Love at first sight strikes when young Tony spots Maria at a high school dance in 1957 New York City. Their burgeoning romance helps to fuel the fire between the warring Jets and Sharks -- two rival gangs vying for control of the streets.

Carolyn is joined by the Supervising Sound Edit, Re-recording Mixer, and Production Sound Mixer for Steven Spielberg's rendition of 'West Side Story'. Together they share their experiences bringing the sound of this music to the screen and how they were able to keep the vocals grounded in realism. 'In this podcast series, Carolyn Giardina, Tech Editor for The Hollywood Reporter, extends her coverage of the filmmaking crafts. She will be talking with the cinematographers, editors, production designers, composers, visual effects supervisors, and other leading artists that bring the magic of motion pictures to theaters. Subscribe now to receive episodes of this inspired new series that shines a light on the artists that spend most of their time behind the screen. Hosted by: Carolyn Giardina Produced by: Matthew Whitehurst Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we rewind with two previous podcasts and two different filmmakers. The first filmmaker is Gary Rydstrom a seven time Academy Award Winner. He talks about the George Lucas film, Strange Magic that he directed. The second filmmaker is Lisa Bryant, director for the Netflix series Jeffrey Epstein 'Filthy Rich.'    Follow to receive every new episode: https://www.podbean.com/podcast-pbblog-8zDNGRf2NIOG-follower Download the Podbean Player App: https://www.podbean.com/podcast-app-iphone-android-mobile   ► FACEBOOK: https://www.facebook.com/YourFilmPodcast ► YOUTUBE:  https://www.youtube.com/channel/UCo95_Quaast5vCQZtbCTjzA Please send feedback or questions to: indiefilmpodcast@gmail.com  Show your support and please rate and review us on iTunes:  https://podcasts.apple.com/us/podcast/shoot-it-now/id1545805946 Romain Dagnan | The Film Podcast Theme Composer www.romaindagnan.com Every week 'The Film Podcast' interviews award winning and indie-film directors, cinematographers (DOP) film editors, actors and other cast and crew members to learn from their unique stories. 

In this episode we rewind and look at two previous podcasts with two different filmmakers. The first filmmaker is Lisa Bryant, director for the Netflix series Jeffrey Epstein 'Filthy Rich.' The second filmmaker is Gary Rydstrom a seven time Academy Award Winner. He talks about the George Lucas film, Strange Magic that is directed. The full episode is coming soon.   Follow to receive every new episode: https://www.podbean.com/podcast-pbblog-8zDNGRf2NIOG-follower Download the Podbean Player App: https://www.podbean.com/podcast-app-iphone-android-mobile   ► FACEBOOK: https://www.facebook.com/YourFilmPodcast ► YOUTUBE:  https://www.youtube.com/channel/UCo95_Quaast5vCQZtbCTjzA Please send feedback or questions to: indiefilmpodcast@gmail.com  Show your support and please rate and review us on iTunes:  https://podcasts.apple.com/us/podcast/shoot-it-now/id1545805946 Romain Dagnan | The Film Podcast Theme Composer www.romaindagnan.com Every week 'The Film Podcast' interviews award winning and indie-film directors, cinematographers (DOP) film editors, actors and other cast and crew members to learn from their unique stories. 

For this episode I was fortunate enought to  have a  conversation with Oscar winning sound designer Gary Ridstrom, he of Terminator 2 and Jurassic Park fame.I hope you enjoy the podcast. Please share to your friends!Support the show (https://www.patreon.com/jamiebenning)

Gary Rydstrom is a film director and sound designer.  For Pixar Animation Studios, he directed two shorts: the Oscar-nominated Lifted, and Toy Story Toons: Hawaiian Vacation.  For Disney and Studio Ghibli, he directed the English-language versions of The Secret World of Arrietty, From Up on Poppy Hill, and The Wind Rises.  At Skywalker Sound, he has designed and mixed many films, including Terminator 2, Jurassic Park, A River Runs Through It, Toy Story, Quiz Show, Titanic, Saving Private Ryan, Star Wars: Episode I, Punch-Drunk Love, Finding Nemo, War Horse, and Bridge of Spies.  He also wrote and directed the feature film, Strange Magic. He has won seven Academy Awards for Sound and Sound Editing, and Career Achievement Awards from both the Cinema Audio Society and Motion Picture Sound Editors.  He is currently working on sound design for Steven Spielberg's West Side Story. Gary is a native of Elmhurst, Illinois, and a graduate of the University of Southern California's School of Cinema.

We talk to Gary Rydstrom a 7 time Academy Award winner for Sound Design. His work includes working with Steven Spielberg on The Post, Terminator, James Cameron Titanic, Saving Private Ryan, Minority Report, Jurassic Park, Ad Astra, Captain Marvel, Bridge of Spies and more.... Follow to receive every new episode: https://www.podbean.com/podcast-pbblog-8zDNGRf2NIOG-follower Download the Podbean Player App: https://www.podbean.com/podcast-app-iphone-android-mobile  2018 Ready Player One  2017 The Post  2016 The Great Wall   2015 Star Wars: Episode VII - The Force Awakens  2015 Bridge of Spies  2015 Jurassic World   2012 Lincoln   2011 Mission: Impossible - Ghost Protocol   2002 Minority Report    2002 Star Wars: Episode II - Attack of the Clones    2001 A.I. Artificial Intelligence    2000 X-Men  1999 Star Wars: Episode I - The Phantom Menace    1997 Titanic   1997 Hercules    1997 The Lost World: Jurassic Park    1996 Mission: Impossible   1994 Quiz Show  1992Single White Female   1991 Rush    1991 Terminator 2: Judgment Day    The Film Podcast Facebook: https://www.facebook.com/Shoot-it-Now-105337104805218 The Film Podcast YouTube:  https://www.youtube.com/channel/UCo95_Quaast5vCQZtbCTjzA Please send feedback or questions to: indiefilmpodcast@gmail.com  Show your support and please rate and review us on iTunes:  https://podcasts.apple.com/us/podcast/shoot-it-now/id1545805946 Romain Dagnan | The Film Podcast Theme Composer www.romaindagnan.com Every week 'The Film Podcast' interviews award winning and indie-film directors, cinematographers (DOP) film editors, actors and other cast and crew members to learn from their unique stories. 

Bobette Buster is an acclaimed lecturer, award-winning producer and author, whose workshops are sought after by top media companies and corporations alike, from Disney/Pixar, Sony and BBC to Google and SoulCycle.Listen to Bobette as she talks about:Why we all have a story to tellHow we can make the world  better place through storiesHow you can find the right story to tell.CourageWhy you have to go through the wildernessThe magical force of taking one step through your fearSound design in movies. Bobette’s documentary Making Waves -  - The Art Of Cinematic SoundWorking with Gary Rydstrom (who has won 7 oscars)Follow Bobette:http://www.bobettebuster.comDo Storyhttps://thedobook.co/products/do-story-how-to-tell-your-story-so-the-world-listensDo Listenhttps://thedobook.co/products/do-listen-understand-whats-really-being-said-find-a-new-way-forwardMaking Waves Documentaryhttps://www.makingwavesfilm.co.ukBobette - Instagram:https://www.instagram.com/bobette.buster/Bobette - Twitter:https://twitter.com/bobettebusterFollow Matt:https://twitter.com/Matt_4_Goodhttps://www.instagram.com/matt.callanan/Today's podcast is brought to you by:We Make Film Happen http://wemakefilmhappen.com/We Make Good Happen http://wemakegoodhappen.com/We Make Podcasts Happen https://www.wemakepodcastshappen.comPodcast Like a Pro: https://www.podcastlikeapro.co.uk/We tap into the minds of people like adventurers, world record holders, entrepreneurs, voice coaches, psychologists, musicians and people making a positive difference around the world.We want to find out what’s their path to success and what have they learnt along the way.This is real stories from real people.Plus we want to find out what success means to them.The We Make Success Happen podcast is hosted by Matt Callanan, a former international DJ and musician turned filmmaker (with We Make Film Happen) and founder of the kindness project We Make Good Happen.

In episode seven, Rebecca and Nathan talk about how William Greaves' NATIONTIME (covering the 1972 National Black Political Convention) and the documentaries of Frederick Wiseman are essential watching this election season. They also dive into the sound worlds of Gary Rydstrom, whose career in sound design is featured in MAKING WAVES: THE ART OF CINEMATIC SOUND. And Hannah Bonner joins the conversation to share insights on New Hollywood, the topic of her virtual FilmScene 101 series.

This week on SWIFT BITES, Jurassic Park Sound Designer Gary Rydstrom signs on to Jurassic World: Dominion, Sam Neill and Jeff Goldblum jam in-between filming on Dominion, and new findings show that dinosaurs also got cancer. STORIES:1. Sound Designer Gary Rydstrom is returning to the Jurassic Franchise in Dominion! - https://www.jurassicoutpost.com/new-interview-with-jurassic-park-sound-designer-gary-rydstrom-and-jurassic-park-3-cinematographer-shelly-johnson2. Jeff Goldblum and Sam Neill Duets - https://twitter.com/TwoPaddocks/status/1302945816521383938?s=20 - https://twitter.com/TwoPaddocks/status/1303045547155169281?s=20 - https://twitter.com/TwoPaddocks/status/1303718164413341696?s=20 - https://twitter.com/TwoPaddocks/status/1304761783870279681?s=20 3. Dinosaurs Suffered From Cancer, Too” - https://www.smithsonianmag.com/science-nature/dinosaurs-suffered-cancer-too-180975467/ 4. “Steven Spielberg Insisted Netflix's Jurassic World Cartoon Pull No Punches” - https://io9.gizmodo.com/steven-spielberg-insisted-netflixs-jurassic-world-carto-1845011845 5. “The Entire First Season of the Cancelled Jurassic Park Television Series Revealed (Exclusive)” - https://www.jurassicoutpost.com/entire-first-season-cancelled-jurassic-park-television-series-revealed-exclusive/ 6. “Never Before Seen Art Surfaces from Cancelled ‘The Lost World: Jurassic Park’ Animated Series!” - https://www.jurassicoutpost.com/never-before-seen-art-surfaces-from-cancelled-the-lost-world-jurassic-park-animated-series/ 7. My InGeneral Podcast appearance - https://youtu.be/ikqPCV0WGDg 8. Promote Jack De La Mare’s Isla Sorna Isla Sorna primer - https://www.youtube.com/watch?v=HxQCLDX4UvI&t=240s Donate to the Patreon: https://www.patreon.com/seejurassicright Follow along with the show:https://twitter.com/sjrpod https://www.instagram.com/seejurassicright/

On this episode, Ted and Dan are once again joined by Mix Magazine’s content director, Tom Kenny. During this second part of their three part conversation, they discuss Tom’s passion for the Mix Sound for Film & TV event, A star-studded surprise show at the Bluebird Café in Bloomington Indiana, Paul Rothchild inviting Tom to Hollywood to write a feature on The Doors movie, and a whole lot more!

In the second half of our conversation with Gary Rydstrom, seven-time Oscar winner and the sound designer/mixer for “Mission: Impossible – Ghost Protocol” who also mixed the first film, we get into some of his other incredible work, including Paul Thomas Anderson’s “Punch-Drunk Love,” James Cameron's “T2," and he also shares stories of his work on abandoned Pixar feature “Newt.” And we even get his favorite “M:I” hairstyle!

This we are lucky to be joined by seven-time Oscar winner Gary Rydstrom, a true visionary who was the sound designer and re-recording mixer for “Mission: Impossible – Ghost Protocol” and the re-recording mixer for the first film. In this installment Gary talks about what it was like working with Brian De Palma, how Brad Bird had designed some sequences for sound, and teases the abandoned snowmobile sequence in "Ghost Protocol."

Show Notes:  In this episode of The Tiara Talk Show, sound designer Gary Rydstrom chats with host Tammy Tuckey to celebrate the upcoming 20th anniversary of "Atlantis: The Lost Empire"! Want to give us your thoughts on this episode? Call us at 1-407-413-9390 and leave us a voicemail! Thanks for listening! “The Tiara Talk Show” is edited, created and hosted by Tammy Tuckey. The Tiara Talk Show is Copyright © 2013-2020 by Tammy Tuckey. All rights reserved.

Hello and welcome to episode 6 of The Closing Credits Podcast. Today, I interviewed 7 time Oscar winner, Gary Rydstrom. He is a director, sound designer, and re-recording mixer working at Skywalker Sound. You may recognize his work in Saving Private Ryan, Minority Report, Jurassic Park, Punch Drunk Love and Pixar films such as Toy Story and A Bug's Life-the list really goes on and on. In this episode, we spoke about the recent Academy Award sound category change, working with directors, how to create rhythm within chaotic scenes, and how to tackle a scene from script to screen.   Be sure to checkout Making Waves: The Art of Cinematic Sound to learn more about the world of sound featuring Mr. Rydstrom and other living legends. https://www.makingwavesmovie.com/   Gary Rydstrom's IMDb: https://www.imdb.com/name/nm0003977/?ref_=nv_sr_srsg_0   Skywalker Sound: https://www.skysound.com/   Podcast Website: www.closingcreditspod.com  Twitter and Instagram: @closingcred Email: contact@closingcreditspod.com   Please also let me know of any jobs in the film industry you'd like to know more about or who you'd like to be interviewed!   Theme song by Christopher Findlaytor and the logo by Steve Mehallo. Thanks for listening!

The seven-time Academy Award-winning sound designer discusses using subliminal ambiences, manipulated vocal loops, and strategically used distortion. Check out the https://www.youtube.com/watch?v=VdOnwlsoh-Q&feature=youtu.be (video) for this episode. https://linktr.ee/dolbyinstitute (Subscribe) to the Dolby Institute Podcast. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). Movie buff? Follow Dolby Cinema on https://www.instagram.com/dolbycinema/?hl=en (Instagram).

In this episode, seven-time Academy Award-winner Gary Rydstrom delves into using sound to create an increasingly unsettling journey for the audience through the use of subliminal ambiences, manipulated vocal loops, and strategically used distortion. We also deconstruct the film’s signature lunar rover chase sequence and discuss the film’s rules of sound, an important topic to director James Gray.

On this week's episode, Carolyn visits legendary sound designer Gary Rydstrom at Skywalker Sound to discuss his work on director James Gray's film, 'Ad Astra'. He shares insights into elements of sound design in the film, how silence informed his choices for the sound edit, and a piece of advice he learned early in his career that he continues to use to this day. In this podcast series, Carolyn Giardina, Tech Editor for The Hollywood Reporter, extends her coverage of the filmmaking crafts. She will be talking with the cinematographers, editors, production designers, composers, visual effects supervisors, and other leading artists that bring the magic of motion pictures to theaters. Subscribe now to receive episodes of this inspired new series that shines a light on the artists that spend most of their time behind the screen.

Timothy talks to Midge Costin about her new documentary feature on the art of sound for films called Making Waves. Calling in from Ghent, Belgium, Midge tells us about how the film came to be and why she was born to make this project. Go to www.makingwavesmovie.com to find a way to see this film, featuring sound luminaries Walter Murch, Ben Burtt, Gary Rydstrom and so many more!

Timothy talks to Midge Costin about her new documentary feature on the art of sound for films called Making Waves. Calling in from Ghent, Belgium, Midge tells us about how the film came to be and why she was born to make this project. Go to www.makingwavesmovie.com to find a way to see this film, featuring sound luminaries Walter Murch, Ben Burtt, Gary Rydstrom and so many more!

Film sound legends Walter Murch (The Godfather, Apocalypse Now), Ben Burtt (Star Wars, Wall•E), Gary Rydstrom (Jurassic Park, Saving Private Ryan) and Making Waves director Midge Costin join Dolby Institute director Glenn Kiser in conversation before a live audience after the film’s premiere at the Tribeca Film Festival. The wide-ranging discussion touches on the role of subjective sound in creative storytelling, why the sound of Wall•E’s voice made some people cry, and how famed director Francis Ford Coppola uses what he calls “silent take 6.”

Seven-time Academy Award winner Gary Rydstrom has created some of the most memorable sound designs in modern cinema (Jurassic Park, Toy Story, and Saving Private Ryan, to name a few). He has also brought his audio storytelling outside traditional film, designing the sound for theme park Star Wars: Galaxy's Edge in Disneyland and an installation at San Francisco’s deYoung Museum called The Companions, an audio-only cinematic experience that guided visitors through immersive and directional sound. Listen as Gary takes us through the creative process behind The Companions, and the power of using audio in storytelling.

What an honor to share this conversation with legendary Sound Designer/Editor/Mixer Gary Rydstrom, who has been collaborating to create the soundscape of Steven Spielberg films for over 25 years and whose credits include 'Jurassic Park,' 'Toy Story' and 'Star Wars: The Force Awakens' among many others. In our conversation, we discuss Gary's creative relationship with Steven Spielberg, working in animation on many beloved Pixar movies, the bone-shaking experience of recreating the battle sounds in 'Saving Private Ryan,' the thrilling NYC car chase from 'Ready Player One' and much more! Make sure to find and follow the podcast on Facebook at: https://www.facebook.com/soundstageaccess/

After a crazy NFL Sunday, the guys couldn't help but share their quick reactions to Amari Cooper and The Miami Miracle (1:05), but they quickly move on to Kevin now not having to defend a Dallas athlete (6:55). Then the guys get talk about ESPN's app gaffe during the Heisman before discussing Kyler Murray's (and many others') controversial tweets (10:04). Two poker players bet on true isolation. The guys discuss which one is the crazy one (29:57). Who decided what dinosaurs sound like? Well, Gary Rydstrom did, since he sound designed Jurassic Park. The guys talk about some of the cool aspects of sound design (37:03). Then Pops is in a quandary. Why does Arkansas have such goofy names (46:50). All that and more, this week on Just Press Play. Show notes and more can be found on our website, check out how we're doing in Playoffs?! and Buy Buy Buy. Music provided by TRUTH. This week's episode is brought to you MyBookie.ag, use offer code JPP to double your initial investment. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Triple Academy Award®-winner Walter Murch (Apocalypse Now, The Godfather) answers questions from fellow sound designers, Ren Klyce and Gary Rydstrom. https://linktr.ee/dolbyinstitute (Subscribe) to the Dolby Institute Podcast. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). Movie buff? Follow Dolby Cinema on https://www.instagram.com/dolbycinema/?hl=en (Instagram).

Welcome to The Jurassic Park Podcast! In this episode, we have some news, we'll visit the audio segment to hear a behind the scenes clip from Gary Rydstrom, Steven Spielberg, & Chris Boyes, and we've also got a huge chat with James Hawkins & Steve Hurrell from Jurassic Unicast about the sounds of Jurassic Park! News: Dinosaur Classification Main Street Lego Ideas Audio Segment: Jurassic Park Sound This Week's Guests: James Hawkins & Steve Hurrell Youtube | Twitter | Facebook Watch Via Youtube: Coming Soon You can leave us a VOICEMAIL!  Call 732-825-7763Follow us on Twitter @JurassicParkPod Send us an email with any ideas, concerns, news, or if you just want to say hello! Thanks for listening!

Seven-time Academy Award winning sound designer Gary Rydstrom discusses his career, his recent work on Star Wars: The Force Awakens and Strange Magic, and his enthusiasm for the master’s program in sound at Northwestern.