Issue link: https://digital.copcomm.com/i/1490686
and dialogue supervision on The Fugitive. What was it like working on the film? BS: Working on The Fugitive was really a highlight at that point in my career. Andy Davis (director), Peter McGregor Scott (producer), and Dennis Virkler (picture editor) had just finished working on Under Siege and immediately moved on to The Fugitive, which had a very tight turnaround. I was pregnant with my daughter Jessie while they were filming in Chicago. Dennis called me from the set and said, 'I hope you're ready because we have shot a million feet of film and we are going to hit the ground running with a tight schedule.' I replied, 'Well, you know, I just had a baby, but I'll be with you guys soon.' And six weeks later, I was working on The Fugitive. MA: Wow. How did you make that work? BS: It was great. I had a very supportive husband who was the best, and I had a friend who was taking care of her as well. Jessie came to the stage with me many times. Andy, Peter, and Dennis all knew my little baby, and they would always come up to the stage to hold her. It was an amazing experience. The Fugitive was very tough because the time between when they finished shooting and when the studio wanted it in theaters was only 10 weeks. Andy Davis' director's cut was the one that the studio wanted out in time for the Oscars and other awards. There were six picture editors and about 40 sound editors because we were still cutting half on film and half on computers. The characters were constantly outside and had constant issues with nature, as well as the typical helicopters, gunfire, and all the different things that cause problems with dialogue. The scene where Harrison Ford is in the bus has an interesting story. The bus is stuck on the train tracks, and the train is coming. He jumps out of the window of the bus to get away from the train. Then he's running along the train tracks. If you watch when he jumps out and lands, you can see that he hurts his knee. He continues limping through the rest of the movie. This is how quick the turnaround was. He finished shooting the movie, had surgery on his knee, and then was on the ADR stage at Warner Bros. I had to bring in a La-Z-Boy because he was all wrapped up and needed to keep his knee elevated with ice while we recorded. He was basically laying down in the La-Z-Boy with the microphone down toward him. Tommy Lee Jones had his group of marshals, and what Andy Davis liked to do was keep the secondary characters constantly talking. There was a lot of ADR, with lines written off camera for that group of people constantly talking. It plays really well. You can hear them chattering everywhere which helps to keep the camaraderie of that little group. I loved working on the film, and we even received a BAFTA, which was really cool. MA: In 1999, you worked on M. Night Shyamalan's The Sixth Sense, which you went on to get a Golden Reel nomination for. Can you walk us through your process on this film? BS: I got a call from M. Night in New York, saying, "I would like you to do the ADR on The Sixth Sense. We've got most of our actors in Los Angeles." He somehow knew that I had worked with Bruce Willis before so he was familiar with me. He said, "Here's what we're going to do. We're going to send you the sheets of the ADR that we want to shoot and we're going to send you the film. We'll shoot it at Warner Bros. So show up Monday at 9 a.m." I didn't have a chance to see the film before the session. I showed up, looked at the sheets, said hey to Bruce and we got to it. M. Night didn't attend, he trusted Bruce and I. We worked on it all day. Bruce was great. What a sweetheart. We got into the afternoon and I said to Bruce, 'Wait, you've been dead this whole movie?' [laughs] I had no idea. That really threw me. After shooting the other characters, I shipped it off to New York to be mixed. MA: In 2011, you supervised Angelina Jolie's fictional directorial debut film, In the Land of Blood and Honey, which you also picked up another Golden Reel Award for. How was it working with Angelina? BS: That's when I finally started supervising my own shows. I met Angie and she was ready to collaborate and understand sound. To be able to have her come to my cutting room and listen to sound effects and understand how we could put her people into a war zone without the money to shoot a war. It blew her mind. Every time I brought her over and showed her more scenes, with planes going over, bombs dropping, and machine gun fights, enveloping the audience in the war, her ears opened. From reel one through reel six on the mix stage, her notes changed so much as she progressed as a director and understood what could be done. It was great. There was a lot of tension on that show with the loop group. We had to hire Bosnians and Serbians who spoke the language, rather than actual loop group people. Someone in production found these people in different parts of the city and brought them in. The problem was that they were fighting amongst themselves because some were on one side of the war and others on the other side. We brought them to the ADR stage and tried to teach them to do loop group. I had some very stressful days with them because the men would not listen to me. We had some difficult scenes to film where I had to have soldiers raping women. I asked them to speak in their language, but say certain things for me. It was so combative on the stage that I had to get the people apart and bring in only certain people at certain times. I did two days of that, then I found a translator to come in and sit with me, which I do on every film that I have any foreign language in. She sat with me as I cut it to make sure I was getting the correct language. When I played her some of the things I had cut, she said, "You can't put that in. He's talking about you. And what he would do..." It was dark. I ended up having to cut out a lot of what they said because of this. MA: You are no stranger to supervising ADR for big name actors in films. The Avengers has a huge cast of big names. What was it like to work on a film that has such a huge comic book following? BS: It was awesome working on The Avengers. I was brought on by Skywalker to do it. The thing about The Avengers is that it was constantly being rewritten. Even during final