Issue link: http://digital.copcomm.com/i/1152266
such a unique timbre (a retrofitted warehouse), Armando wanted an organic SFX match for the recorded dialogue. In my experience, communication between showrunners and production sound mixers is often nonexistent. This was not the case for Veep. I was a bit apprehensive about not having my LA crew with me in Baltimore, so I called David MacMillan CAS. David had recently mixed Game Change in Baltimore. I knew that any leads from him would be solid, and I was right. I was lucky to be referred to an incredibly talented crew. On boom was Lorenzo Millan who, after Veep, went on to become an Emmy award- winning production sound mixer for a popular drama series. Steve Lafayette was sound utility, one of the best I've ever worked with in my entire 35-plus-year career. He kept everything meticulously organized. "I LIKE TO USE ALL THE DIALOGUE RECORDED ON CAMERA. ALL THE NUANCES, ALL THE INFLECTIONS; THAT'S WHERE THE MAGIC LIVES." –ARMANDO IANNUCCI Steve Saada at work on Veep; the largest page count in HBO history The first few episodes of Season 1 served as a boot camp for the rest of the series. Workdays under 12 hours were rare to nonexistent. Our page counts varied between 12 to 20 pages a day, often higher. (I know it sounds impossible, but it actually happened.) The DP for Season 1 lit with a variety of lights, including two China balls extended out onto the set with booms. During the takes, the lights were in perpetual motion, creating a myriad of problems. My boom operator, constantly fighting for position, wound up being sidelined for ambience most of the time. When Lorenzo, our boom operator, moved on, I needed to find a replacement. After many referrals and calling around, I found Steve Saada. Steve was a welcome addition to the sound department. Reid Scott, the actor playing the part of Dan Egan, would time Steve on how fast he could wire him. At one point, Steve got it down to 30 seconds. Travis Groves, a sweetheart with an imposing presence, was utility. Travis had an innate talent for quieting the set. Steve and Travis were not only good at what they did: they became my good friends as well. Then there was the stage itself. About 30 minutes southwest of Baltimore via Interstate 95 with a jog northeast onto the 175 lies the town of Columbia, MD. It was