Issue link: https://digital.copcomm.com/i/1175934
13 MPEG FELLOWSHIP & SERVICE AWARD 2019 Steven Spielberg, left, with production associate (now producer) Kristie Macosko Krieger, and DreamWorks head of post-production Cohen shooting e Terminal in downtown Los Angeles in 2004. Photo by Rob Yamamoto Right: Cohen, right, presents Steven Spielberg with the Motion Picture Sound Editors Golden Reel Filmmaker Recipient Award in 2010. Courtesy of MPSE, photo by Peter Zakhary/Tilt Photos room, I was working 60 to 70 hours a week in a communications venue. I was working harder but I could spend more time with my family." In 1993, executive producer Kennedy asked Cohen to work directly as post-production supervisor on what he considers "probably the pinnacle of my career" — Spielberg's Schindler's List. He recalled, "Steven was friendly with Stanley Kubrick, and Kubrick suggested that we do all the ADR on location. They didn't have the technical facilities to do it in Poland, so we did the ADR at locations in Britain to match the shoot locations in Poland." For the quality of the ADR work, the post supervisor joked, "Steven punished me by sending me to Paris, London and Rome to check the lab printing of the international release of the film." The following year, Amblin transitioned into DreamWorks Pictures and naturally Cohen was named head of post-production. As post executive, he now worked with executive producers Laurie MacDonald and Walter Parkes on such films as Saving Private Ryan (1998), American Beauty (1999), and Gladiator (2000).