Issue link: https://digital.copcomm.com/i/1504731
30 M PS E . O R G Now I'm not searching for ele- ments in the pit. I'm searching for Solange's things in my burned-down house. It was awful. It was just as devastating. I stayed there for five months. All I wanted to do was take care of my property. I made the decision to rebuild. It took me three years to rebuild. And now I live in a small, beautiful, brand-new home in Lake Tahoe. BF: How did this incident affect work? SSS: I stayed in Lake Tahoe for five months and came back to work on John Adams (2008) at Warner Bros. with Stephen Flick. I went from my house burning down to winning an Emmy. It was so ironic. BF: Where do you find the source of your positive inspiration or motivation? SSS: I have had no positive inspira- tions or motivations after 9/11. What brings me joy is the people in my life, like yourself and Christina Horgan, and the people on the Board of Di- rectors of the Motion Picture Sound Editors. It is such a privilege to be on the Board of Directors, to be a part of the process and to witness the growth and the prosperity that we've created. My dogs are my children, and they bring me joy. I have two dogs. A Golden Retriever and a Border Collie. I don't have kids. I am soloing on this planet. My life before 9/11 was all about Hollywood, all about the industry, all about sound editing, all about my career path, all about my goal to be- come a sound supervisor. After 9/11, I would be grateful for any movie I worked on. I just wanted to work. No aspi- rations, no dreams, just work. My whole life shifted. I was not taking anything for granted. I worked on one movie at a time and that's all I could do. BF: Back to Foley, let's talk about your approach when starting a new project. SSS: I always start a project by watching the movie in its most recent state. In Foley, you want the very latest picture version. Watch the movie, spot the reels with the sound supervisor, get their ideas, talk about concept. Then I start cueing. I'll take one reel, I'll go through it and cue all the footsteps. While I'm cueing the footsteps, I'm getting familiar with the reel. When I go back and cue all the props, I'm already familiar since I've already gone through the reel. I'll do that for each reel and then I'll go to the Foley stage, and they will record all the footsteps first, and then they'll go back and record At the 60th Prime- time Emmy Awards in 2008, Solange, being seated after receiving her trophy for John Adams, was caught by a surprise photo taken by Vickie Sampson MPSE. At the 67th Annual Golden Reel Awards in 2020. The pandemic lockdown would hap- pen one month later.