Issue link: https://digital.copcomm.com/i/1401019
74 I m ps e . o rg they had given the film an NC- 17 rating. This meant that there could be no trailers or publicity for the film and that would severely restrict admissions. After long consultations, it was decided that if about eight seconds of Mickey Rourke's bottom were removed, the film would be reclassified with an 'R' rating. This all took time and we lost our final mix slot with Bill and Ray. Hollywood beckoned. 1987 In very early 1987, the team flew out to Los Angeles with some equipment and a lot of film to mix at Warner Hollywood with Bob Litt, Elliot Tyson, and Steve Maslow. It proved to be a fantastic exercise and experience, certainly one from which I gained a lot. They were a lot more conscious of the use of stereo than we were in the UK. We were wary of using the 'room' as much as they did. Gerry still had to make some changes to the cut and I was lucky that Mike Le Mare and his partner Karola Storr were available to help make the sound alterations and fill the holes in the track. I had known Mike in England, he had then worked in Germany on Das Boot and had met Karola there. They would hold court in Hollywood by creating a British bubble of ex- pats and occasional visitors. They were very kind and welcoming but could sometimes be, perhaps, a touch overwhelming. One day during the mix, I was sitting at the back of the room on a settee when Diana Ross and Alan P. came in. Diana sat beside me. I have to confess that I could hardly contain myself! She wanted Alan to direct her in a project that she owned. Never happened unfortunately. The mix went well, albeit slowly, and Elliot and I became firm friends and in February, we returned home. It was a fantastic experience for me, maybe one of the best in my career. From top: Angel Heart won Best Sound at the annual GBFE Awards … a happy conclusion, Barrie Peters, Gary Kurtzn, and EJ at the GBFE Awards; a scene from Angel Heart with Mickey Rourke.