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Q2 2020

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21 S U M M E R Q 2 I S S U E W H A T O U R M E M B E R S D O W h a t e v e r t h e e d i t o r d o e s w i t h t h e picture, the sound editors must follow. This can often be a difficult challenge and requires constant diligence on the part of the entire sound crew. Q How did you first become interested in this line of work? I moved to LA from Boston where I had been studying music at Berklee College of Music. My course of study was guitar, music business, and I also took some film scoring classes. After seven years in Boston, it was time to make a change. I wanted to move to a city that had a larger, more diverse music scene where there might be more opportunities to start a career. Specifically, I wanted to write, record, and perform. (Though I make my living in post-production sound, I am still active in all of my music pursuits.) Once set up in LA , I had the good fortune to meet the then head of post at MGM, Bruce Markoe. We met through our wives, who had become friends while working for the same company – "small world" stuff ! He knew I was actively seeking employment opportunities and offered to help me get started in film. My first choice was to be a music editor but there were fewer opportunities in that field, so I pursued a path in sound which is where I've been ever since. Q What was your first union job? My first union foley job was "At First Sight" (1999). Q What credits or projects are you proudest of, and why? I would have to say I take particular pride in "Joker" (2019) and "A Star is Born" (2018). Not just because I thought the work we provided was high quality, but also because the overall soundtracks helped tell the stories, as sound can do when it's done right. Also, these were two really excellent films. Another project I especially loved working on was the most recent "Twin Peaks" (2017). It offered such incredible sound opportunities, and because I was able to cut both the foley and the hard fx, I got a great sense of what was needed from both perspectives. Q What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it? I think the biggest challenge in any project I work on is communication with the sound supervisor and all the sound editors. The next challenge is to know what a film needs and what you are re- sponsible to deliver as part of the team. For instance, a live action film requires a different approach than animation. Of- ten in live action, the director will want to use some sounds that were recorded during filming –- not just dialogue but other sounds that occurred during a take. In animation, you have none of that, so you are responsible for every bit of sound put into the film. Because there are so many moving p i e c e s i n a n y f i l m - - - t h e d i r e c t o r, picture editor, sound editors, music editors, post-production supervisors, the studio, and anyone else involved in the decision-making process --- I feel communication is key. Q What was the most fun you've had at work? Probably the final mix of "American Wedding" (2003) [the third "American Pie" movie]. We were up late many nights mixing, and because of the nature of the film, we just had a blast finishing it. There was a lot of "creative sound placement" and laughs long into the night. Q Jobwise, what do you hope to be doing five years from now? To be supervising and/or editing f o l e y a n d s o u n d f x f o r c r e a t i v e cutting-edge projects with the best peo- ple in the industry. Q What are your outside activities, hobbies, passions? Music, of course. I've recorded two al- bums since moving to LA and have a third coming out in the fall. I also love tennis, golf, cooking, and gardening. Q Favorite movie(s)? Why? "Mrs. Doubtfire" (1993) is comedic genius. "The Greatest Game Ever Played" (2005), based on a true story, is a won- derful "feel good" movie --- and I love golf. "Amadeus" (1984) deservedly won eight Oscars and is a beautifully made film. And "The Shining" (1980), what can I say – it keeps on working. Q Favorite TV program(s)? Why? I tend to like edgy shows with great edgy stories: "Ozark," "Breaking Bad," "Peaky Blinders," and the best of all non-scripted TV --- live sports! Q Do you have an industry mentor? I don't think I've ever had a specific mentor, but many different editors and sound supervisors have helped me along the way. I work with some of the best sound professionals in the industry and glean all I can from every interaction. However, I do think that having the right mentor or mentors is essential in any business. Q What advice would you offer to someone interested in pursuing your line of work? Post-production is not an easy field. Unless you are really driven to work in post sound, it might be wise to consider a different path. That said, I did not study film or sound but have found that with a lot of sweat, long hours, and steep learning curves, it has been a blessing for me. It's a career that fits beautifully with artistic souls, and I got really lucky! Q Is there anything you'd like to say to your fellow Guild members, some words of encouragement? I'm not sure I'm qualified to hand out encouraging words, but this is what I tell myself: Stay positive, be consistent, keep your work ethic high, and have an eye on the future to help anticipate where we are heading and what we will need to do in order to keep up with this ever-chang- ing business. The only other thing I would like to say to my colleagues — past, present, and future — is thank you! ■

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