Issue link: http://digital.copcomm.com/i/1122868
32 S P R I N G 2 0 1 9 C A S Q U A R T E R L Y How did you end up outside of music then? I originally thought I'd work in music recording studios but ended up working at Barry Rebo's video production company. At Rebo Associates, I was the technical manager putting together gear for shoots and things like that. I'd also get to go out and help with production sound, plugging the shotgun and lav into the Betacam, which I really enjoyed. Well, the receptionist's boyfriend was a camera operator for the BBC and he was looking for a sound mixer, so I went freelance and I'd go on location with him and did a lot of news stories for the Beeb. After that, I started getting around more and wound up working on 60 Minutes and 20/20, which was some of the most memorable work I've ever done. But it wasn't very challenging technically and I wanted to try to work on scripted projects. The unscripted/doc world is a little separate from the land of scripted projects. How did you work your way inside that world? Interesting story. John Hazard was a cameraman I did some work with for the BBC and he invited me to a party in Jersey City. He introduced me to another sound guy there—none other than Lee Orloff. We chatted some and exchanged info. So, Lee calls me a couple weeks later and says, "I'm on this movie, it's four weeks, deferred pay, a low-budget indie. Do you want to boom for me?" At the time, I was young enough to be able to work for four weeks for free. It was shot on the Jersey Shore and was called Salvation! Have You Said Your Prayers Today? I had never been on a film set before because I was in the news and doc world, but I did my own booming in those circumstances so I knew my way around mics and my ears could hear when CAS Award Winner – Television One Hour MEET THE WINNERS The Marvelous Mrs. Maisel by Matt Foglia CAS Amazon's The Marvelous Mrs. Maisel follows a happily married mother of two as she explores a talent that she was previously unaware of; being a stand-up comedian. Set in New York City in the late 1950s and early 1960s, the viewer watches as Miriam "Midge" Maisel steps out of her comfort zone and into the city's clubs and cafes. Through the guidance of series creator Amy Sherman-Palladino, the show's sound team strives to bring that period to life via sound. I recently spoke with this year's winners: Production sound mixer Mathew Price CAS, scoring mixer Stewart Lerman, ADR mixer David Boulton, Foley mixer George Lara CAS, and re-recording mixer Ron Bochar CAS. Following are excerpts from our conversations. MATHEW PRICE CAS: Production Sound Mixer Mathew Price has more than 30 years of production sound experience, primarily based out of New York City. He's acquired six Emmy nominations for his work on The Sopranos, has eight CAS Award nominations, along with two wins, and is a Golden Reel winner. I caught up with him during the first week of shooting Season 3 of Maisel. What led you to this crazy life? Were there musicians or entertainers in your family while growing up? I was born in Queens and have lived in all the boroughs except Staten Island, actually. I got into the business because of my love for music. My dad was a great jazz fan and my cousin is Bob Moses, who is one of the best jazz drummers out there. There was always music around when I was growing up and I took up guitar and bass. Mathew Price CAS on set