MPSE Wavelength

M OT I O N P I CTU R E S O U N D E D I TO R S I 39 COYA: It is awesome to be recognized by our peers. Was there anything specifi c within the story that infl uenced your decision to take on this project? COYA: I love the heart and Soul of Pixar movies. How did the pandemic change the way you and your team worked on this project? COYA: We had to work remotely from home halfway during the project. During the fi nal mix, we could not all be on the mix stage together at the same time. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? COYA: We were able to add sounds where we previously thought it would just be music. Outstanding Achievement in Sound Editing Non-Theatrical Documentary LAUREL CANYON: A Place in Time: "Episode 1" EPIX/Amblin Supervising Sound Editor: JONATHAN GREBER Sound E• ects Editor: LUCAS MILLER What was the biggest challenge you and your team faced? JONATHAN GREBER, SUPERVISING SOUND EDITOR: Making all the archival dialog not sound dreadful, and matching much of it with modern interviews by the same people. Why are the MPSE Awards important to you? JONATHAN: They're important because they're voted on by peers in the sound community who understand what it actually means to edit as opposed to mix, etc. Was there anything specifi c within the story that infl uenced your decision to take on this project? JONATHAN: LOL no. When a good project gets offered to me, I take it. How did the pandemic change the way you and your team worked on this project? JONATHAN: It didn't. We fi nished this show right before it hit. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? JONATHAN: New perspectives always come into the equation and they defi nitely did on this one. Telling the story through sound is the job, so I tried to fi nd as many immersive moments for us to lose ourselves in the music of that time without getting in the way of story.

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