Issue link: https://digital.copcomm.com/i/1383665
M OT I O N P I CTU R E S O U N D E D I TO R S I 21 Todd Toon (left) and Odin Benitez (above); Photos courtesy of Formosa Group/Libero Antonio Di Zinno crews where it'd be one editor per reel. It just felt like it was done right. To me, George is still the gold standard for supervisors. I thought he did everything right. A lot of times, George would have to expand his crew, and then Todd and I might work together. Or Todd might need some help on something, and I was working on George's crew, but he could let me go work on Todd's show for a couple of weeks. TT: I think what connected us immediately was that we both had a pretty in-depth knowledge of sound effects and libraries. We started as librarians. We kind of bonded over that, always sharing sound effects. If I was looking for something specific, Odin would always be one of the first people I would call. We traded sounds like baseball cards. I was in awe of Odin's work any time I got to conform my reels, he would say the same thing about me, so we learned from each other while exploring the craft. That's how we first started, and then it got to a point where any show I would do, I would ask Odin if he was available and vice versa. OB: I remember getting reels from Todd or he'd give me a cutting library that he's pulled from, and I'd be like, "Wow! These sounds are amazing!" It's because it was Todd's personal library, but Todd was like, "Well, I'm used to this stuff. I'm interested in the stuff that you have." Between the two of us, we had this amazing library. Todd was just so adventurous in the way he would approach the scene—just really telling a story with sound effects. That really made me take a step back and think, "Oh, there's more that I can do. I can try to be more