Wylie Stateman
Born (1957-11-20) November 20, 1957 (age 64)
OccupationSound Director
Supervising Sound Editor
Sound Designer
Post Production Executive
Entrepreneur
Years active1980–present

Wylie Stateman (born November 20, 1957) is an American sound director, supervising sound editor, sound designer, and post production media entrepreneur. Stateman has supervised over 150 sound projects, resulting in 9 Academy Award nominations, 6 BAFTA Awards, 3 Primetime Emmy Awards, and over 30 Motion Picture Sound Editor Awards. He also received a Science Technology award from the Academy of Motion Picture Arts and Sciences in 1994 for Audio Track’s Advanced Data Encoding (ADE) System. In 2021 he won an Emmy Award for his sound design in Netflix’s original series ‘The Queen’s Gambit’.

His creative sound work has included multiple collaborations with Oliver Stone, John Hughes, Quentin Tarantino, Wolfgang Petersen, Herbert Ross, Cameron Crowe, Scott Frank, and Rob Marshall.

Stateman was a co-founder of the post production sound services company Soundelux[1] where he served in a senior executive management capacity involved in the overall operations. Stateman also served as Chairman of the Board for the Soundelux Entertainment Group, a holding company that oversaw 11 entities including The Hollywood Edge (sound effect libraries), Modern Music (music editorial for feature films and television), DMG (computer game design), Mind’s Eye/Jabberwocky (books on tape), and Soundelux Florida (editorial), as well as Soundelux Systems (location-based entertainment systems integrator and installer), and Showorks (original content creator), among others.

Stateman went on to establish 247SND (twenty four seven sound), centered around a Dolby Atmos design studio in Topanga, CA.

Early career influences

1977-78: Professor Mort Rosenfelt was a University of Utah Film School professor who taught Stateman at the very beginning of his career in Park City, UT. When working for Sunn Classic Pictures, the largest independent producer of content outside of Hollywood during its time, Rosenfelt took a sabbatical to set up Sunn Classic's post production department and mentored 20 young filmmakers on in-house post production systems. He taught Stateman post production theory and a rapid prototyping approach to problem-solving, whereby students were forced to completely rethink different angles to solve the same problem.[citation needed]

1979: Lon Bender met Stateman at Warren Sound West in Hollywood, an early post production sound facility and recording studio. They worked together as young sound editors on a series of films including Coal Miner's Daughter, Wolfin, and Southern Comfort, while incubating their original idea for Soundelux. Their collaboration resulted in the successful development of many companies (identified below).

1982: Craig Harris was an early expert of the Synclavier manufactured by New England Digital Corporation. It was the very first digital synthesizer piano keyboard that performed computer digital audio sequencing. Harris introduced Stateman to the idea of doing digital sound design with music design tools.

1982: Harry Harris was a US importer who introduced to Hollywood the AMS (Advanced Music Systems) Audiofile, one of the first 16-bit hard disk based recording systems dedicated to post production. This tool was the first to move entire editorial works into the digital world. It enabled Stateman to apply his rapid prototyping curiosity and quickly transition from film-based analog creative to digital-based creative workflows on computer hard disks - an avant-garde concept at the time when the largest hard disk available was 180MB and had to be registered with the US government.[citation needed]

1982: Scott Gershin met Stateman during the post production period of Tron. Gershin introduced Stateman to a digital audio workstation called "ADAP", which ran on an Atari computer, a precursor to the personal computer. This exposure encouraged Stateman to further embrace digital audio as a means for creative audio exploration and solidified in his mind the mass market potential of these tools in reaching next generation PCs.[citation needed]

Noteworthy collaborators

Stateman has had multiple collaborations with some of the most prolific writer/directors in the motion picture and television industry including:

Oliver StoneSnowden, Savages, The Untold History of the United States, Wall Street: Money Never Sleeps, W., World Trade Center, Alexander, Any Given Sunday, Nixon, Natural Born Killers, Heaven & Earth, JFK, The Doors, Born on the Fourth of July, and Talk Radio.

John HughesDennis the Menace, Home Alone 2: Lost in New York, Curly Sue, Dutch, Only the Lonely, Home Alone, National Lampoon's Christmas Vacation, Uncle Buck, She’s Having a Baby, Planes, Trains and Automobiles, and Ferris Bueller’s Day Off.

Quentin TarantinoOnce Upon a Time in Hollywood, The Hateful 8, Django Unchained, Inglourious Basterds, Grindhouse: Death Proof, Kill Bill: Vol. 1, and Kill Bill: Vol. 2.

Wolfgang PetersenDas Boot (American Director's Cut), The Perfect Storm, Air Force One, Outbreak, In the Line of Fire, Shattered, Troy, and Poseidon.

Herbert RossSteel Magnolias, Footloose, Protocol, Secret of My Success, and Dancers.

Cameron CroweAlmost Famous and Jerry Maguire.

Scott FrankA Walk Among the Tombstones and Godless.

Rob MarshallNine and Memoirs of a Geisha.

Awards and nominations

Wylie Stateman has been nominated for 9 Academy Awards, 6 BAFTA Awards (1 win), 30+ Motion Picture Sound Editors Awards (4 wins), 2 Emmy Awards, and a Satellite Award. For a more complete listing of his credits, visit IMDB-Wylie Stateman.

Academy Awards
BAFTA Awards
Motion Picture Sound Editors - Golden Reel Award
  • 2020: Once Upon a Time in Hollywood (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2020: Once Upon a Time in Hollywood (Best Sound Editing – Dialogue and Automated Dialogue Replacement) – Nominated
  • 2018: Godless (Best Sound Editing – Sound Effects and Foley) – Won
  • 2017: Deepwater Horizon (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2014: Lone Survivor (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2014: Lone Survivor (Best Sound Editing – Dialogue and Automated Dialogue Replacement) – Nominated
  • 2013: Django Unchained (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2010: Inglourious Basterds (Best Sound Editing – Dialogue and Automated Dialogue Replacement) – Won[3]
  • 2009: Wanted (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2007: World Trade Center (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2007: World Trade Center (Best Sound Editing – Dialogue and Automated Dialogue Replacement) – Nominated
  • 2006: Memoirs of a Geisha (Best Sound Editing – Dialogue and Automated Dialogue Replacement) – Won
  • 2006: Memoirs of a Geisha (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2005: Kill Bill: Vol. 2 (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2005: Kill Bill: Vol. 2 (Best Sound Editing – Dialogue and Automated Dialogue Replacement) – Nominated
  • 2005: Troy (Best Sound Editing in Foreign Features) – Nominated
  • 2004: Kill Bill: Vol. 1 (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2003: We Were Soldiers (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2002: Shrek (Best Sound Editing - Animated Feature Film, Domestic and Foreign) – Nominated
  • 2001: The Perfect Storm (Best Sound Editing – Sound Effects and Foley) – Nominated
  • 2000: For Love of the Game (Best Sound Editing – Dialogue and Automated Dialogue Replacement) – Nominated
  • 1990: Born on the Fourth of July (Best Sound Editing – Sound Effects) – Won
The Association of Motion Picture Sound (AMPS)
Emmy Awards
Satellite Awards

Entrepreneur

In addition to his creative work, Stateman has been an active entrepreneur in sound-related businesses having founded, purchased, merged and/or managed over 30 corporate entities spanning post production services; sound effects libraries publishing; music post production services; video game post production; cinema facilities design, production and distribution; entertainment park design and production; software development for digital delivery systems; and more. Many of his endeavors were co-founded with his long-time partner, Lon Bender, as well as managed and/or developed alongside a team of executives who continue to serve as leaders of major Hollywood studios and post production facilities today.

References

  1. ^ At the Movies; This Summer, Noise Matters The New York Times, 31 July 1998
  2. ^ "The 62nd Academy Awards (1990) Nominees and Winners". oscars.org. Retrieved 17 October 2011.
  3. ^ MPSE Announces Winners of 2010 Golden Reel Awards, Staff Report, Mix Magazine, 22 February 2010
  4. ^ West L.A. Music Delivers 104 Pro Tools Systems to Liberty Livewire, 18 September 2001
  5. ^ Liberty over Independence, Mix Online, 1 September 2000
  6. ^ The Origins of Post-Production Audio on the West Coast, Soundworks Collection, 4 December 2012
  7. ^ Vine Street Studios, Mix Online, 1 September 2000
  8. ^ MTS website Wayback Machine, 7 April 2000
  9. ^ Liberty Livewire Corporation - Company Profile, Reference for Business, 2000
  10. ^ Liberty Livewire Corporation - Company Profile, Reference for Business, 2000
  11. ^ Liberty Livewire renamed Ascent Media Group, Mix Online, 18 November 2002
  12. ^ VocalStream Aims to Bring the Internet to Life, Business Wire, 23 April 2007
  13. ^ Audio Post Houses Establish CSS Studios, Prosound Network, 1 October 2008
  14. ^ Discovery Sells CSS Studios to Empire Investment Holdings, studiodaily.com, 24 September 2012
  15. ^ Sound One, Elite NYC Audio Post Facility, Goes Silent, Sonicscoop, 8 October 2012
  16. ^ CSS Studios Renamed Todd Soundelux, The Hollywood Reporter, 13 February 2013
  17. ^ Todd-Soundelux Files for Chapter 11, Mix Online, 22 May 2014
  18. ^ Post House Todd Soundelux Closes Its Doors, Variety, 11 July 2014

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