The Association of Motion Picture Sound (AMPS), together with The Cinema Audio Society (CAS) and the Motion Picture Sound Editors (MPSE) have stepped up their Sound Credit Initiative, with the launch of an online petition that you can sign and encourage others to sign as well.
These three organisations have been working towards equal onscreen recognition for the sound departments with the other creative department leads. After many months of discussions, on August 3rd 2020 they published this open letter….
This is an open letter from the Cinema Audio Society, Motion Picture Sound Editors, and The Association of Motion Picture Sound, who represent audio professionals internationally.
Though film is often considered a visual medium, removing the sound component will demonstrate exactly how movies “tell” the story, thrill audiences, and become the “voice” of the Filmmaker. As George Lucas has famously been quoted, “Sound is 50 per cent of the movie-going experience.”
Production Sound Mixing, Sound Editing, and Re-recording Mixing all contribute to the complete sound experience and are eligible for recognition of major awards. It is remarkable that these persons who receive nominations for numerous international awards, including those from AMPAS and BAFTA, are generally not afforded prominent screen credits that are representative of their creative contribution to the film. We seek your help in correcting this imbalance.
We believe that the complete sound design of the film is the responsibility and ownership of these key sound roles. The Production Sound Mixer, Supervising Sound Editor(s), Re-Recording Mixer(s), should share a single card and be appropriately positioned within the same proximity of the other key roles, such as Director of Photography, Film Editor, Production Designer, Costume Designer, Unit Production Manager, 1st Assistant Director.
Such a screen credit would assure that individuals who were principally responsible for the creative direction of the soundtrack would be clearly identified and acknowledged by the audience.
Example: ONCE UPON A TIME IN HOLLYWOOD as a single card following UPM(s), 1st and 2nd AD
Production Sound Mixer Mark Ulano CAS AMPS
Supervising Sound Editor Wylie Stateman MPSE
Re-Recording Mixers Michael Minkler CAS
Christian P. Minkler CAS
Yours faithfully,
Since their Open Letter in August 2020, the organisations behind the Sound Credit Initiative have been overwhelmed by the private emails supporting their call for improved on-screen credit recognition for the sound talent on feature films.
They are now seeking our support as people in the entertainment community who believe in our efforts and seek to uphold them in their personal business practices.
The online petition will offer fellow sound professionals and industry colleagues the opportunity to officially support the call for on-screen sound credits to be in line with other departments such as camera, costume, art and editorial.
AMPS Chair Rob Walker told us…
“Sound teams create 50% of a movie and win awards for their creative contribution, but they are positioned far down the list of credits. This initiative is a move towards representative credits. It’s time to give fair credit where it is due”.
Academy Award-winning production sound mixer, Chris Munro adds…
“We talk about seeing a film or watching a movie. If you try watching a movie with the mute button enabled, you soon realize that we don’t just ‘watch’, we enjoy films for the immersive experience that sound helps to create. Not giving equal on-screen credit to sound creatives, alongside those who create the visuals, gives the impression that our industry is stuck in the silent movie era.”
CAS President Karol Urban continues…
"From production through post-production, sound professionals contribute to creative storytelling and the elevation of the audience's experience. This initiative allows filmmakers and studios to recognize their sound department's importance in a film's overall success."
MPSE President Mark Lanza added…
“While there is a technical aspect to sound for film, the overwhelming majority of what sound people do is creative. Sound is visceral, it tells the audience where we are, focuses the audience on what we want them to feel and when, it leads them through an elaborate illusion. The people creating these works are amazing artists and should be addressed as such.”
Sound teams create 50% of a movie and win awards for their creative contribution, but they are positioned far down the list of credits. This initiative is a move towards representative credits. It’s time to give fair credit where it is due. https://t.co/nP1uBpcMhb
— Rob Walker (@robwalkersound) October 26, 2020
CAS, MPSE, AMPS circulate petition in support of Sound Credit Initiative: The Cinema Audio Society (CAS), together with the Motion Picture Sound Editors (MPSE) and Association of Motion Picture Sound… https://t.co/4PeGBfnFAE #filmproduction #tvproduction #commercialproduction pic.twitter.com/uXU4RhMvWr
— SHOOTonline.com (@SHOOTonline) October 26, 2020
Dear sound friends, there is now an online petition for a move towards representative credits for the sound people working on a movie. A wonderful initiative from @mpseorg, @CinemaAudioSoc and @AMPS_UK. Please sign and share. It’s time to give fair credit where it is due. https://t.co/umR73y9KKg
— Peter Albrechtsen (@lydrummet) October 26, 2020
Please RT and gain some traction for proper crediting of film sound professionals. I've been working in my department for a year on numerous projects yet no credits to my name for the work we do. https://t.co/ydEN1RqBpU
— Soph (@SophieMapples) October 28, 2020
What do you think? Is it OK for the sound credits to be buried in the small print? If not, then let’s add some weight to the petition and see if we can make a difference and see that our work is properly recognised.