The Motion Picture Sound Editors (MPSE) have elected Tom McCarthy as president. McCarthy is an Academy Award- and BAFTA Award-winning sound supervisor and longtime industry executive. He currently serves as executive VP, Post Production Facilities at Sony Pictures Studios. He succeeds Frank Morrone at the MPSE helm.
Supervising sound editor Glenn T. Morgan was elected MPSE secretary. He succeeds Chris Reeves. McCarthy and Morgan join continuing officers Mark Lanza, VP; Paul Rodriguez, treasurer; and Jeremy J. Gordon, sergeant at arms.
McCarthy describes his new role with MPSE as an opportunity to give back to an industry that he has worked in for nearly four decades. “I want to encourage more members to become involved in MPSE activities, including running for board positions,” he said. “I will also work to increase recognition for the art of entertainment sound, and the contributions sound editors make to motion pictures, television, games and other media.”
McCarthy adds that MPSE is planning to expand its series of sound seminars and to create new educational opportunities for students and young professionals. “We see the MPSE as a forum where veteran sound professionals can share insights and advice with other members to improve their skills and grow their careers.”
Outgoing president, Frank Morrone, notes that MPSE has made substantial progress in its mission to promote the craft of sound editors. “It was an honor to serve as president of the organization during such an exciting time for sound,” Morrone said. “Sound editors are employing their skills in new ways and in new mediums, and MPSE has supported them through our educational programs, industry outreach and annual Golden Reel awards competition.”
In addition to the new officers, MPSE elected several candidates to board seats. Steve Urban, Steve Avila, Mike Draghi, Solange Schwalbe, Bernard Weiser and Mandell Winter were elected to the Film Board. Mark Jasper, William Dannevik and Chris Reeves were elected to the Television Board. Charles Deenen was elected to the Game Cinematics Board. Avila, Draghi, Schwalbe, Weiser, Winter, Dannevik, Reeves and Deenen were incumbents.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More