Issue link: https://digital.copcomm.com/i/1335892
62 I M PS E . O R G L-R: Supervising sound editor Jeremy Molod, sound effects editor Malcolm Fife, sound effects editor Jonathon Stevens, and supervising sound editor Ren Klyce. sound effects editors Malcolm Fife, Jonathon Stevens, Josh Gold, and Coya Elliott, Foley editor Shaun Farley, music editor Sally Boldt, assistants Lisa Chino and Cameron Barker, re-recording mixers David Parker and Nathan Nance, production mixer Drew Kunin, and boom operator Michael Primmer. and power of the pen, and being written by David Fincher's father, Jack Fincher, made it that much more special for all of us. We had a wonderful team and want to thank them all for their artistry and inventiveness in working on the soundtrack: dialogue editors Kim Foscato and Rich Quinn, glasses strike during toasts needed to ring like they were crystal, holding the finest champagne, that people were seated in the finest supple leather chairs … all while gigantic roaring fires cracked and rumbled in the many fireplaces. And in stark contrast to both the hustle and bustle of the studio lots and the opulence of San Simeon, the Victorville bungalow was isolated and desolate. David wanted the floorboards to be horrendously creaky, there was a lot of attention paid to squeakiness—screen doors and off-camera sounds from the kitchen. He also wanted the location to sound far from Hollywood, with coyotes and crickets, distant dogs barking, and a long approach where you could hear a car coming from a mile away. Working on Mank was an incredible experience. It's a movie that dramatizes the act Photo courtesy of Netflix