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66 W I N T E R 2 0 2 3 I C A S Q U A R T E R L Y b y A d a m H o w e l l C A S A Look Back at Titanic (1997) "Fan Favorite Films" is intended to be a fun read that we hope can be a recurring series. We'll approach various classic films from ever y decade with an inter view of the sound depar tment, where they can provide enter taining insight into their experience on a groundbreaking film. Up first is the monumental, 11-time Academy Award-winning film from the '90s Titanic. Looking back, where were you in 1997? Some of you might've been wrapping up careers while others weren't even born yet. I was a senior in high school. I remember watching Titanic at the theater with my then girlfriend. After leaving the theater, we had our first kiss before I had to drive her home. A little lightheaded, I put my car in reverse … and backed into a mailbox. Not a premier cruise ship hitting an iceberg, but embarrassing nonetheless. Recently, while on a flight, I rewatched Titanic (listed under the "Classics" selection of movies, BTW). It reminded me of what a great movie it is. Inspired to learn more about how the sounds were captured, created, and mixed, I reached out to some of the sound team. Three of the Oscar winners from the sound team graciously shared their experience and memories with me to help us celebrate 25 years of Titanic. What led you to Titanic? Was it a serendipitous connection, pure luck, or maybe a long-standing relationship with an executive? How does one get to work on such a highly anticipated film? Gary Rydstrom CAS (sound designer): I worked on James Cameron's Terminator 2, so we were teed up to work on Titanic. I was a re-recording mixer, along with Gary Summers and Tom Johnson. I started doing sound in 1983, and if my calculations are correct, I was on the cusp of 30 when I did Titanic. Tom Bellfort CAS (re-recording mixer): I was 50 years old and a 20-plus-year professional by that time. I was Sound Awards Oscar, CAS, and Golden Reel Award winner. Oscar for Best Sound (Mixing): Gary Rydstrom CAS (sound designer), Tom Johnson (re-recording mixer), Gary Summers (re-recording mixer: music), and Mark Ulano CAS (production sound mixer) Oscar for Best Effects, Sound Effects Editing: Tom Bellfort CAS and Christopher Boyes FAN FAVORITE FILMS