Issue link: https://digital.copcomm.com/i/1277927
16 S U M M E R 2 0 2 0 I C A S Q U A R T E R L Y to have that because it ran for two years there. It was the right decision. That first year was really, really tough, because Wilmington is so easy, it's so pleasant, everything is 15 minutes away, everybody knew everybody, and we all helped each other out, regardless of department because it's a mixed local. I'm so thankful for those years. I had a solid 10 years when I came up in the film business, and I'm so grateful for that and to work with wonderful people and lifelong friends. It was so nice when a bunch of us went at the same time to Atlanta. We've all stayed together and tried to work together. Of course, you branch out and meet new people as well. Did you do any mixing in Wilmington? No, I've always been a sound utility. I've stepped in from time to time for my boss. I enjoy it, I've had a lot of fun with it, but at one point I had to make the decision about whether that was the route I was going to go. I really thought about it because I really enjoy mixing, but you can't do it halfway. It's a huge financial commitment, and I really like the freedom I have by staying as a utility. My work is very varied. I do a lot of second boom, I get called to boom or mix as a day player with another mixer's gear. So, I kind of get the best of everything—not to mention that you become very in demand as you have more and more experience. I'm very lucky and thankful to stay very busy. I truly do love my job. I never sit down during the day. There's always something to do and I like to stay busy. There's all that fun and problem-solving, fixing stuff, coming up with creative solutions. I love the freedom, too. The sound mixer is very often trapped with the cart, and the boom operator has to stay on set, and I like to run around kind of behind the scenes. I also like the variety of the other departments that I work with because, as the utility, I'm really the go-between with props, costumes, grips, and electrics, too. And from my department, I'm the one who gets sent to get stuff. It's so important to respect everyone else's job. I want them to have a good day too, whatever department they 're in. When I need something, it's not for me, it's for the show, for the actors, for post-production, and I think everyone gets that. I'm truly interested in everyone else's job. I'm one of those people who loves to pick your brain and see how you do things. The entire process of filmmaking fascinates me from the ground up. I said from day one when I went to school that I wanted to learn the nuts and bolts of it because I find it all fascinating. Has TV changed a lot since you started? There are some series now that are shot like they are features. I did Season 3 of Stranger Things and that was primarily a one-camera show. It was really something to behold. Every shot means something and is important. It's not like, "Oh, we've got three cameras? Put one here and the other two, you find something. Because we all have to shoot all the time, and we'll sort it out later." Every shot is beautifully composed and shot and there's a reason for it. Whether it's the way it makes you feel, whether it's the angle of the camera or the width or how they have the actors stacked or not; I'm very impressed with that show. And you also have to worry less about wide and tight! Right, very rarely, very rarely. I remember for me it was a little frustrating at first because I don't think my boss pulled up a wire for the first two months. Now, everyone was wired, because that's how we do it now. Especially in the world we were coming from, everyone's wired because you never know when it's going to get silly. I was just not used to not hearing them. I would be a little worried and be like, "Are they OK? Are you checking them? Do they sound all right?" And Michael always checks the ISO's because he still wants the wires to sound good, too. But it was a little unnerving at first. With boom op Dan Giannattasio on a beach for Outer Banks.