Issue link: http://digital.copcomm.com/i/1061972
108 CINEMONTAGE / Q4 2018 108 CINEMONTAGE / Q4 2018 Service award than Lee Dichter. As someone who feels like I grew into being a re-recording mixer myself under the wings of a person and artist as wonderful as Lee, I will forever remain fascinated by how beautifully he always managed to make the dialogue and music sing. And the films — from the smallest- seeming labor-of-love documentary to the biggest feature movie — took on a shape, life and depth that would engage and enrapture any audience listening later, as much as it left me so often feeling awed by Lee's magic in that first moment in the studio. But it was also always the grace with which Lee would welcome and consider any director's or producer's vision — as much as any sound or picture editor's — working together in a mix session. No matter how intense the pressure, Lee would invite their creative conversations in the most vulnerable and productive ways at the same time, never tiring of striving to improve any little moment in the film, like an always humbly caring friend and collaborator. That serves as an inspiration for myself to this day. Congratulations and thank you, Lee. I don't know who I would be today, without having spent those countless hours in the studio by your side. Martin Czembor Friend/Colleague; Re-Recording Mixer n I had just started working in New York when I first heard of Lee. My colleagues would talk about their experiences on the mix stage: "Oh, he's great. Cleaned up the dialogue…amazing." I heard this over and over. On the outside, I would respond, "That's cool." On the inside, I wondered, "How does he handle music?" About a year later, I found out. We were mixing Let's Get Lost, the documentary about Chet Baker. There was a lot of music in the movie — a lot. I had tracks segueing from one to another. I had two tracks playing at the same time. It was complicated. And it was all cut on 16mm, which on a film like that lends itself to some risky edits. How would he handle the music? How would he handle me? I was intimidated. I only had a few feature credits. Lee was mixing big movies for big directors. When it came time to mix the music, Lee invited me up to the console. In those days, that was off limits. Not with Lee. He was warm, friendly and welcoming. He asked me about the intention of the music. He let me sit with him while he proceeded to mix with grace and finesse. I'll never forget him sliding over on his chair, elbowing me on the arm and saying, "Watch this." And I did. I watched him dance the faders up and down, bringing life to the music. I grinned. He grinned. We became friends working on that film. Thank you, Lee, for all the wonderful mixes and for giving of your talent and humanity. Congratulations on receiving the Fellowship and Service Award. Joseph S. DeBeasi, MPSE Friend/Colleague; Music Editor, Composer n I only had the pleasure of working with Lee briefly on a temp dub when I was a supervising sound editor. But what a pleasure it was. His stellar reputation preceded him. We were working in New York City, away from our home base of LA, and he made us feel completely welcome in his studio at Sound One. From that time on, as a friend, I have been in many a social setting with Lee as he held court and kept everyone laughing. We've shared some wonderful nerdly times (yes, we're both nerds!) and fabulous meals. His amazing work speaks for itself. The love his collaborators and friends show for him speaks volumes more. What a career, what a life. Wonderful! Dody Dorn, ACE Friend/Colleague; Picture Editor n I 'm pretty sure I first met Lee Dichter in 1981 at Photo-Mag, when I was just a pishke little assistant music editor, and he was already a big cheese in New York post-production. I remember delivering the music tracks to Lee's machine room the day before the dub, and peeking into the studio to watch him twiddle with a bunch of little knobs and sliders, seemingly without effect to my untrained ear. Later, I came to understand why my peers thought that Lee was a genius at the board — particularly with badly recorded dialogue — and why they admired his storyteller's sense of what was most important in a film mix. He was a good music mixer too, and it was always a happy day when you brought him your composer's tracks. You knew you were going to have fun, and Lee was going to make your film sing no matter what — even in the face of some cranky director whose film perhaps wasn't really quite working yet. "It'll get there," he'd say, and he'd do his best to make sure it did. It was largely because of this generous spirit that, in the weeks immediately following 9/11 while my wife and I were displaced from our downtown apartment, we decided to accept refuge in Lee and Sophie's guest room. It was a tough time for everybody in New York City. Many people in the film community were offering help, but the day Lee and I traipsed back downtown with our wives to see what had become of our home just across the street from the fallen towers, past the wreckage, past the broken glass, past the police barricades — that is something I'll never forget. Thank you, Lee, esteemed colleague and treasured friend. Tom Drescher Friend/Colleague; Music Editor n I am fortunate to have known Lee Dichter for 25 years and he's possibly the reason I'm a mixer today. The first time I worked with Lee was on a temp mix for the film