Richard Ford | |
---|---|
Born | London, England |
Occupation(s) | Film music editor, record producer |
Years active | 1995–present |
Richard Ford, formerly known as Rick Ford, is a music editor and record producer for feature film soundtracks and scores. [1] He has worked with a number of critically acclaimed film makers, including Ben Affleck, Alexander Payne, [2] Ted Demme and Kathryn Bigelow. He started his musical career as a bass player in his home town of London and later in New York City, working with, amongst others, guitarist Bill Nelson and singer/songwriter Joe Jackson. [3] Ford moved to Los Angeles in the 1990s, where he started his music editing career. He is best known for his work on films such as Argo , The Descendants , Sideways , Election , Training Day and American History X .
Ford grew up in London within a musical family. He started playing piano at the age of four, and became a member of Andrew Lloyd Webber and Tim Rice’s boys choir at the age of ten. He went on to study cello and alto sax as a teenager, and by his 20s had become known as a session bass player in London and later in New York. During this time he recorded and toured with various artists including guitarist Bill Nelson (on his project Bill Nelson's Red Noise), [4] singer/songwriter Bram Tchaikovsky, singer Mary Hopkin, producer Toni Visconti and singer/songwriter Joe Jackson on his Big World album and world tours. [5]
Ford moved to Los Angeles and began his music editing career in the 1990s, starting up on the Xena Warrior Princess [6] syndicated television show. He then moved on to work on such feature films as Love Jones (1997) and Polish Wedding (1998) with Italian composer and Academy Award-winner Luis Bakalov. In 1998 he went to work on the iconic film American History X (1998) with the Academy Award-winning composer, Anne Dudley.
In the following years he worked on such films as Training Day (2001), Ted Demme's Blow (2001) and the surfing movie Blue Crush (2002).
Ford's most notable collaboration is his long-time relationship with filmmaker Alexander Payne. Ford has been part of Payne's creative team since the film Election (1999), and has continued to work with him on the films About Schmidt (2002) and Sideways (2004). When Payne made The Descendants in 2011, Ford was credited as Executive Music Producer and played a major role in the creative development of the soundtrack. [7] On Nebraska (2013), Ford continued his expanded role as music producer, music editor and producer of the film's soundtrack CD.
In 2012, Ford joined Ben Affleck's team on Academy Award-winner Argo , and Kathryn Bigelow on Zero Dark Thirty.
Some of Ford's other notable collaborations include his work with composers Alexandre Desplat, Mycheal Danna, Christophe Beck, Mark Isham, Rolfe Kent and Mark Orton.
Ford has also been involved with Alexander Payne's The Holdovers (2023) as executive music producer, music editor and co-producer of the score soundtrack – with Mark Orton composing the score.
Ford started to focus on his own music in 2018. He released Basso Profondissimo EP (2018) – a solo project conceived and played on electric bass. The Basso Profondissimo 2 album followed in 2021.
Constantine Alexander Payne is an American film director, screenwriter and producer. He is noted for his satirical depictions of contemporary American society. Payne has received numerous accolades, including two Academy Awards, a BAFTA Award and two Golden Globe Awards as well as a nomination for a Grammy Award.
Motion Picture Sound Editors (MPSE) is an American professional society of motion picture sound editors founded in 1953. The society's goals are to educate others about and increase the recognition of the sound and music editors, show the artistic merit of the soundtracks, and improve the professional relationship of its members. The society is not to be confused with an industry union, such as the I.A.T.S.E. The current president is David Barber. The names of active members of the MPSE will generally appear in film credits with the post-nominal letters "MPSE".
Peter Zinner was an Austrian-American film editor. Following nearly fifteen years of uncredited work as an assistant sound editor, Zinner received credits on more than fifty films from 1959 to 2006. His most influential films are likely The Godfather and The Godfather Part II, both of which appear on a 2012 listing of the 75 best edited films of all time compiled by the Motion Picture Editors Guild.
"Girls Just Wanna Have Fun" is the fourth episode of the second season of the syndicated television series Xena: Warrior Princess. The 28th episode of the series overall, the episode was written by Adam Armus and Nora Kay Foster, was directed by T.J. Scott, and first aired on October 21, 1996. Girls Just Wanna Have Fun is also the title of a multipath adventure game by Slingshot Entertainment which is based upon this episode.
Kevin Tent is an American film editor and director. Tent has been elected to membership in the American Cinema Editors (ACE) and serves as President of the board. He is best known for his longstanding collaboration with Alexander Payne, having edited every feature film Payne has directed as of 2023. For his work on Payne's films, Tent has been nominated for two Academy Awards for Best Editing for his works in The Descendants and The Holdovers. Tent also won an ACE Eddie award for first film and received three other ACE Eddie Award nominations for Election, Sideways and About Schmidt. In addition to his career in editing, Tent also co-directed two films, Ultra Warrior (1990) and Blackbelt II (1993), and directed the 2017 film Crash Pad.
Frank Morrone is an independent re-recording mixer who has worked extensively in both film and television. His award winning work includes Emmy Awards for the ABC hit LOST and the mini-series The Kennedys as well as a best sound Satellite Award for Tim Burton's Sleepy Hollow.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Musical for Feature Film is an annual award given by the Motion Picture Sound Editors. It honors music editors whose work has warranted merit in the field of cinema; in this case, their work in musical feature films. It was first awarded in 1999, for films released the previous year, under the title Best Sound Editing – Music – Musical Feature . In 2002, the award dropped "Foreign & Domestic" from its title, going by Best Sound Editing – Music – Musical Feature Film. From this point, until 2017, that title would remain, or some simple variation of it. The award has been given with its current title since 2018. The category was not presented in 2021.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Dialogue and ADR for Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of theater; in this case, their work in the field of automated dialogue replacement, or ADR. It was first awarded in 1964, for films released the previous year, under the title Best Sound Editing – Loop Lines. The following year, the award was re-titled Best Sound Editing – Dialogue, and would remain this until 1984, before being changed to Best Sound Editing – ADR. In 1991, the "dialogue" and "ADR" aspects of the process were divided into separate categories and would, intermittently, be awarded for the next seven years, before combining again in 1998, under the title Best Sound Editing – Dialogue & ADR. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects, Foley, Dialogue and ADR for Animated Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of animated film.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Series 1 Hour – Effects / Foley is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of sound effects and Foley work in long form broadcast media. It was first awarded in 2002, for episodes premiering the previous year, under the title Best Sound Editing in Television - Effects & Foley, Long Form. The term "long form" was added to the category in 2002, as long form television had been award under the category titled Best Sound Editing - Television Movie of the Week - Effects & Foley, or some moniker of it, since 1998. The award has been given with its current title since 2022. Also in 2022, limited and anthology series were separated from other hour-long programs and given their own category, Outstanding Achievement in Sound Editing – Limited Series or Anthology, though the category was not presented the following year.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects and Foley for Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of sound effects and Foley. It was first awarded in 1954, for films released the previous year, under the title Best Sound Editing - Feature Film. In 1964 the award was split in two, this to honor sound effects editing, while the other honored ADR. It wasn't until 1974 that the title specified that it was being awarded to sound effects, under the title Best Sound Editing - Sound Effects. The "Foley" of the title wasn't recognized until 1997. Between then and 2018, the category's title fluctuated between similar variations. The award has been given under its current title since 2018.
Donald Sylvester is an American sound editor who has worked on over 100 films. He is best known for his work with James Mangold on the films Ford v Ferrari (2019), Logan (2017), 3:10 to Yuma (2007), and Walk the Line (2005). Sylvester won the Academy Award for Best Sound Editing at the 92nd Academy Awards for Ford v Ferrari and BAFTA Award for Best Sound at the 59th British Academy Film Awards for Walk the Line. He has been a member of BAFTA since 2007.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Feature Underscore is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of film; in this case, their work in the field of music editing in theatrically released motion pictures. The awards title has gone through many incarnations since its inception, but its focus has been on honoring exemplary work of music editors. Until 2005, animated films had their own category; since then, they have been eligible for this award. In 2022, a category was presented exclusively for documentary features.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Music Score and Musical for Episodic Long Form Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of music editing in television. The awards title has gone through many incarnations since its inception, but its focus has been on honoring exemplary work of music editors. The term "long form" was added to the category in 2002, as long form television had been awarded under both the category titled Best Sound Editing – Television Movies of the Week – Music, and Best Sound Editing – Television Episodic – Music, or some moniker of them, since 1997. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Music Score and Musical for Episodic Short Form Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of music editing in television. The awards title has gone through many incarnations since its inception, but its focus has been on honoring exemplary work of music editors. The term "short form" was added to the category in 2002, as long form television has its own separate category. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing - Sound Effects, Foley, Dialogue and ADR for Feature Documentary is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of documentary films. It was first awarded in 2010.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects and Foley for Non-Theatrical Documentary Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of sound effects and foley work in non-theatrical documentary broadcast media.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects, Foley, Music, Dialogue and ADR for Short Form Animation Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of sound effects and Foley work in short form animated broadcast media.
The Holdovers is a 2023 American Christmas comedy drama film directed by Alexander Payne, written by David Hemingson, and starring Paul Giamatti, Da'Vine Joy Randolph, and Dominic Sessa. Set in 1970, it tells the story of a strict classics teacher at a New England boarding school who is forced to chaperone a handful of students with nowhere to go on the Christmas break.
The Descendants (Music from the Motion Picture) is the soundtrack to the film The Descendants, released, three days before the film on November 15, 2011 by Sony Classical Records. The film uses Hawaiian music, featuring artists including Gabby Pahinui, Ray Kane, Keola Beamer, Lena Machado, Sonny Chillingworth, Jeff Peterson, Makana, Dennis Kamakahi, and Danny Carvalho. The soundtrack was acclaimed by music critics for its use of Hawaiian music and received a nomination for Grammy Award for Best Compilation Soundtrack for Visual Media at the 55th Annual Grammy Awards.