Issue link: https://digital.copcomm.com/i/1470109
M OT I O N P I CTU R E S O U N D E D I TO R S I 25 The Discovery crew your approval." So that's what I wound up doing. I started getting work from Screen Gems, and while they're not you're A-list movies, they were still fun movies to work on. SS: You've had some very talented people working with you on your crews that you have worked with throughout the years. Can you tell us about the people you worked with in New York and the people that you brought with you to Los Angeles? CC: In New York, I tried to spread the wealth, if you will, and give opportunities to many. And it would always work out because depending on schedules and who's available and all. So I did have a lot of opportunity to bring people in. But some of my favorite editors at the time ... there was a fellow by the name of Lou Severino, and Dan Sable, Lynn's father. They were old school, but they were welcoming the new technology. So I got to work with them, and see how they operated and became part of my team. Another fella, Stan Bochner, a workhorse of a guy, he was really terrific. Then, when I started doing Apollo 13 in 1995, the work was being divided by two supervisors. Steve Flick did the sound effects in Los Angeles and I handled the ADR and dialogue in New York with Lisa Levine. SS: So you got the chance to work with Steve Flick? Did you spend time with him? CC: Oh yeah, we spent several months together in the studio. I give Steve a lot of credit for his ability to make things happen and recording all kinds of stuff, and we got to meet when I came out on The Da Vinci Code. I got to meet Donald (Flick) and I worked with Donald. That was a lot of fun. And I worked with Rickley Dumm, who became my right-hand man in LA. What happened was I came out to LA with Lynn and Danny Pagan. Danny started out as my apprentice on Apollo 13. Then he stuck with me on every project thereafter. He started to get into editing and he started getting other jobs, which was good. In New York, we worked together. I felt like we had a good thing going. But when we did come out to California, he was right there. Dana, his wife, was gung ho, and Lynn, same thing. There were political issues that had taken place, so Lynn and Deborah Wallach came into play. And they wound up working with us on The Da Vinci Code, Angels & Demons, Frost/ Nixon, and The Dilemma. That was my last Ron Howard movie, The Dilemma, which we finished up in 2011. Then he went to Europe to do Rush [2013] and in The Heart of the Sea [2015]. And because they did it in Europe, it didn't come my way. SS: As you know, Ron Howard is receiving the MPSE Golden Reel Award for Filmmaker of the Year. Tell us about your relationship with Ron Howard. What was it like? CC: Really, we connected. He loved my sense of humor. I used to kibitz with him, joke around and what have you. As a matter of fact, March 1 was his birthday and he sent me a text saying, "I hope you see what I did, because I just want you to know I talked about you." And I said, "Well, I hope it was good sh*t." He said, "You'll see." He didn't want to give it away, so I said, "Alright. I'll be surprised." But we got along really well, we played. SS: How many feature films did you supervise for Ron Howard? CC: 13. Chic at NY cutting room, circa 1980s. CHIC & KEM New York Editing Room 1973.