Issue link: https://digital.copcomm.com/i/1475409
RE: I consider myself a very lucky person, since a lot of beautiful and generous people crossed my path. My first inspiration was Nicolas Becker. I met him in Paris when I was around 24 years old. He was working as a Foley artist for a Lebanese film ( A Perfect Day by Khalil Joreige and Joana Hadjithomas). It was such an eye-opening relationship for me as he helped me have a vision in life while encouraging my involvement in politics, people and life. He remains until now a huge support for me, a true friend. I can never thank him enough. Another huge influence is French re- recording mixer Florent Lavallée. I met him in Lebanon, where he used to teach sound in a university and we've been working together for almost 25 years. He helped me grow and build my studio in Beirut, DB Studios. He was the one who encouraged me to build a mixing auditorium in Beirut in 2018 and he brought in his association HAL Audio (alongside Nicolas Becker and many more). He spent two weeks here to set up the studio, and now I am honored to have HAL Audio as partners, thanks to him. Rana, during sound editing of a very special Lebanese film The Beach House by Roy Dib. Throughout the years, a lot of sound designers and re-recording mixers supported me and gave me huge opportunities, and were more than generous. I will mention Larry Sider (he offered me the great privilege of giving a lecture in School of Sound), Peter Albrechtsen (he is the angel that brought me on his team), Rob Walker, Frank Kruse, Paul Davies (they trusted me to come to Beirut to do lectures here), Tim Nielsen, Alistair Sirkett (on their initiative we created together a great sound composition during COVID for the Berlinale Talents), Randy Thom, Ben Burtt (they took the time to see me and share a wonderful conversation when I had the superb chance to visit Skywalker) and Charles Maynes (who gave me the great opportunity to be part of the MPSE). I am sure I didn't mention everyone, but I can safely say that the sound community is extremely generous and supportive. CM: What are your favorite projects that you have been involved with and what makes them so important to you. RE: Every project is a learning experience, even the bad ones. Honeyland was great and very special since it was my first foreign experience. Working with Atanas (the producer/ editor) and the directors Tamara and Ljubomir was a blessing. Trying to build ambiances for a country I don't know was so rewarding, since working on ambiances of cities and countries is my favorite part in sound. Working on Honeyland opened the gates of paradise to me. It was the door to many opportunities. The Cave was an amazing experience as well since Peter Albrechtsen gave me the opportunity to be part of his international team. Working on building the sound identity of Syria during the war was also a great addition to my path. I had several wonderful experiences on great films from Lebanon and the Arab Countries that built me as a person. These are independent films made despite a lot of difficulties. Every film we do is almost like a militant act. These conditions gave me a lot of maturity. I learned how to listen to the films and to the directors, and this enhanced