Gary rydstrom biography

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  • Gary Rydstrom

    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 Ready Player One. Gary is a native of Elmhurst, Illinois, and a graduate of

    Gary Rydstrom

    Academy Award for Best Sound

    • Arthur Piantadosi, Les Fresholtz, Dick Alexander, and Jim Webb ()
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    • Chris Jenkins, Gary Alexander, Larry Stensvold, and Peter Handford ()
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    • Bill Rowe and Ivan Sharrock ()
    • Les Fresholtz, Dick Alexander, Vern Poore, and Willie D. Burton ()
    • Donald O. Mitchell, Gregg Rudloff, Elliot Tyson, and Russell Williams II ()
    • Jeffrey Perkins, Bill W.
    • gary rydstrom biography
    • Gary Rydstrom was born in in Chicago, IL. He began his career in sound at Sprocket Systems, the sound group at Lucasfilm. He has worked on a number of films, including Terminator 2: Judgment Day, Jurassic Park, Backdraft, and Indiana Jones and the Temple of Doom. Through this work he has won 7 Academy Awards.

      Production[]

      Rydstrom did his first work for Pixar on the short film Luxo Jr.. Pixar wanted Ben Burtt, who had done the sound on The Adventures of André and Wally B.. However, Burtt was busy on another film, so Sprocket Systems offered Rydstrom the job instead. John Lasseter has said it was Rydstrom's work on Luxo Jr., such as creating the lamp's röst from the squeak of a lightbulb being screwed in, that taught him how sound can be a partner in the storytelling of a film.[1] Rydstrom commented that after Luxo Jr., John continued to increase the use of sound in their movies, reaching a peak on Tin Toy:

      I think it's the most sound-in