Issue link: https://digital.copcomm.com/i/1475409
M OT I O N P I CTU R E S O U N D E D I TO R S I 49 After all, this is what cinema is all about: communication. Plus, all of this helps a lot to overcome the fear of the blank Pro Tools session. CM: How do you prefer working with picture departments—as far as working on design concepts and aesthetics? RE: I always prefer it when we can meet with the editor and the visual effects department, before starting. It is very important to me to send some sounds to the editor before the picture lock, so we can feel the rhythm of the film together. Working on some sequences and sending it back to the editing room makes the editing more dynamic. Working in teams really enhances the whole film and adds some much communication to the process. This is the real magic of cinema, when all the parties comes together. The same thing with the visual effects because sound can drastically change the effects. Once again, teamwork is key, we work together not against each other. CM: How much time do you tend to have for most projects? RE: In Lebanon and all the regions, the budgets are very restrained. It is still an emerging industry. In general, we have a maximum of six weeks for an average feature film. But to be honest, even though it can be very stressful, it challenges me on how to be creative and efficient in a very tight period. That's why the preparation is very important. I learned how to anticipate the needs of the director of the film so I can be on time. Working with a beautiful team helps a lot as well. On every film, we are like machines working all together in sync and harmony. Nicolas Becker once told me that he tends to create his own challenges on every film so he can be more alert and so, in a way, more creative. I guess that's our challenge in this part of the world, time… CM: Are there any filmmakers you would really desire to work with? RE: Ouf! There are a lot of directors I dream of working with!! But now after seeing the new Romanian Wave and especially Radu Jude's films, I would really love to have the chance to work him. The political and social situation resembles a lot the situation in Lebanon. The way he deals with aesthetics, politics, sociology, and philosophy really mesmerizes me. And Yorgos Lanthimos is a director that really impresses me. The whole mood in his cinema is so sound appealing for me. The way he deals with the layers of sound, the ambiances and the mixing is really amazing. And of course, David Lynch is welcome!! CM: What was the most unusual sound editing that you have done for a project? RE: One of the most challenging and unusual experiences I had was only a few weeks ago, when I worked with (MPSE Board member) Peter Albrechtsen (and you!) on Evil Dead Rise. First, working with such a great team was so frightening to me. I felt that I wouldn't be able to make it. And the imposter syndrome quickly emerged in me! Second, I am usually so afraid of horror films, I have never watched one! I just can't. So, when Peter sent me the cut, I asked a friend to sit with me because I couldn't be in the room alone. When I saw the first bloody and gory scene, I ran out of the studio. But I wanted to do it, so the first pass I did, I always had someone with me in the room. (Smiles) But it was very challenging because I was working with no previous references, so I used all the sounds that scare me. Working with no references whatsoever forces you to go back to the source. Your first intuition, your first instinct. I had the feeling that comes with first experiences, where you tend to treat sounds very carefully, I learned so much! Rana with Peter Albrechtsen mixing on the Lebanese film Costa Brava by Mounia Aki.