Issue link: https://digital.copcomm.com/i/1010948
32 S U M M E R 2 0 1 8 C A S Q U A R T E R L Y What about ad-libs for Venom? Since Hardy played both voices, was there ever a situation where he wanted to add a line or the director wanted to try something from Venom's side? Often Tom would want to drop in a Venom line as cameras were resetting back to one in the middle of a scene. My boom operator, Ian Bender, would often put the mic in frame so they wouldn't call action, so Tom could quickly drop in a line for Venom. When the boom rises above frame, action is called, and by the time the Venom line plays in the scene, Patrick would have it cued into the earwig. It was really an exciting workflow. So, you two got really very efficient. It sounds like you run in a well- oiled crew. Where did you shoot and were you able to keep the same crew in all locations? We shot Venom primarily in Atlanta with the last week in San Francisco. I've been lucky enough to keep my crew [consistent] for the last few years. Ian Bender is on boom and John Harton as utility. They consistently knock it out of the park. We are looking forward to seeing the fruits of your and your team's labors in theaters soon when Venom is released in October. Congratulations on adroitly using collaboration and technical innovation to achieve expert results. You make our Society proud.• " " Tom had fun with it, requesting different sound effects on the fly, which would keep us on our toes. The coolest part of this work environment was the relationship and reliance between our talent and the sound department. Venom sound crew (from left): John Harton, utility, Ian Bender, boom operator, Tom Hardy, Michael Koff CAS, production mixer, and Patrick Anderson, Pro Tools playback operator (in San Francisco at the end of shooting). Koffy in the bowels of the Venom stage