Issue link: https://digital.copcomm.com/i/1401019
62 I m ps e . o rg department at Saban Entertainment where I met some great people and made some lasting friendships. When the music path came to an end, one of those friends said, "You should look into Audio Post." I always loved being in the studio. I always wanted to be on the console, tracking or mixing, because I felt like that's where you were developing the permanent part of the music, you know, something that was down on tape. I read David Yewdall's book cover to cover several times, started meeting with anyone who would let me sit in on a session, and answered ads on mandy.com and did any job that I could land. One of those jobs led me to Juniper Post, and when I was in the door there I said, "By the way, are you guys hiring? Do you need anybody?" And they said, "No thanks." About a week later, I got a call from them asking if I had another job yet. I said, "No," and they said, "Well, we want you to come here." I said, "Okay!" And so, I did, and I've been there for the last 17 years. Peter and I had met a few times at the MPSE Awards in the lobby during the cocktail hour melee. Peter had hired a friend, Ryan Cota, to cut dialogue on TKOTL and it was Ryan who pointed Peter in my and Juniper's direction. We had a meeting, it went great, and here we are! PA: Something that kind of connects all of us is that we have a musical background. I remember when talking to Dave about working together, this whole thing about really thinking about sound in a musical way, for me, that's so incredibly important. And it also goes for Robert. We've been listening to music while here in Copenhagen, just like old Fugazi records, talking about our heavy metal, punk rock roots, and stuff like that. Music is a part of our DNA, and it's part of our creativity, so I mean, this thing about being able to talk through sound and music, I think that's a really, important thing. Movies can be musical in so many ways. You can have a lot of music in a movie, and it can be not musical at all because it can be way too much music. But you can be musical in a movie by the way you edit the movie, like the rhythms of the performances, the way that the cinematography, is moving or not moving, how the edits are, how the sound is. And I think something that connects us all is this idea of thinking about the musicality of everything, even if there is no music. DB: I agree. That was one level that we connected on immediately because music is energy, whether it's a wild jazz solo or heavy metal or something else. It's energy that's moving you, propelling you, and the same thing comes with the sound in a film. MA: While we're talking about music, let's touch base on music in