Issue link: https://digital.copcomm.com/i/1487730
M OT I O N P I CTU R E S O U N D E D I TO R S I 47 Around 1990, I got a job at Horta Editorial. Sam Horta was a big influence on me. And that's where I met Eileen Horta, his daughter, who supervises with me at Warner Bros. today. I worked on Father Dowling Mysteries, Sisters, LA Law, Doogie Howser, M.D. and many more. After two years at Horta Editorial, Tim Borguez asked Tom Harris, John Bonds and me if we'd like to go over to Warner Bros. where they were renting additional rooms. The aim was for us to learn the new Lartec, 24-track system they had put in place. Our contracts were still under Horta Editorial. At the end of the year when the season ended, Tom McCormick, the head of the Warner Bros. sound department, asked if we'd like to join them and we all said, "yes!" We became the first part of the television sound department there before it became what it is now. Later, Kathy Flynn joined us. We'd work on the sound library and M&E's for MOW's as well as the old Looney Tunes cartoons. Frank Raciti brought us that animation work and showed us how to do it. That was a lot of fun. We cut dialogue, SFX and walked our own Foley. A couple of years later, they found us a TV series to work on. Around 1993 all of us got laid off in the sound department and Tom McCormick retired. I went back to Rainbow Sound for a while to try to work on features but there wasn't a lot of work and I ended up coming back to Warner Bros. for the 1994 pilot season. Don Rogers came out of retirement and along with Barry Synder, they started backup the sound department. It wasn't long before the work dried up again, so I started looking for new opportunities. That's when I left for Universal Studios to work for Ron Horwitz and Kevin Spears, who I also worked for at Horta Editorial previously. Ron heard I was having trouble getting on a show and asked if I wanted two weeks of work to help on a Simon and Simon reunion show. I said, "Yes" and ended up being at Universal from 1994 to 2005. At Universal, I worked on eight of The Rockford Files MOW's starring James Garner. I was a big fan of his original series, so to work with him was an incredible experience. I got to know him pretty well. I also worked on Roar for Sean Cassidy which won me my first Golden Reel Award. After that 11-year run, work slowed down again so I was mostly working the night shift in the DVD department. Things were slowing down to the point I was sure they were going to start laying people off. Around 2005 Michael Lawshe, who I worked with earlier in '94 at Warner Bros., called me up and asked If I wanted to help him co-supervise on two shows, Smallville and Supernatural. This couldn't have come at a better time for me, so I joined him back at Warner Bros. I had missed the first couple of episodes of Supernatural and started on the fifth year of Smallville. At first I thought, there's no way I could do this much work, but little by little you find a formula and you get used to it. It was scary as hell though. Lawshe became a great mentor to me and we worked together for many years so my style became quite like his. Around 2011, I wanted to start supervising my own shows. While I continued on Supernatural, I got my own series called Suburgatory, where I did two seasons. In 2014 I landed the pilot for The 100, produced by Tim Scanlan, who