MPSE Wavelength

Winter 2024

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Page 34 of 135

I am indebted to three guys who took a chance on me many years ago and gave me my real start in film sound. They are Richard Anderson (who I profiled in the Summer 2020 issue of MPSE Wavelength); Stephen Flick (who I am overdue to sit down with for a talk soon); and the subject of this interview—Mark Mangini MPSE. His remarkable credits include Raiders of the Lost Ark, Poltergeist, Gremlins, Explorers, four Star Trek movies, InnerSpace, Beauty and the Beast, Aladdin, The Fifth Element, The Green Mile, Anchorman, The Rum Diary, Blade Runner 2049 ... and many many more. He has won Oscars for his work on Mad Max: Fury Road and Dune. Mark has shown his infinite patience with me over the 35+ years that I've known him, having endured my countless interviews to discuss his work. Just prior to this conversation, he graciously sat down with me to film a segment of Anna Quinlan's upcoming documentary about that notorious sound effect, The Wilhelm Scream (coming soon). Mark was finishing up work on Teenage Mutant Ninja Turtles: Mutant Mayhem when we sat down for our Wavelength interview (which has been edited for brevity and accuracy). Mad Scientist (of Sound) BY KOREY PEREIRA MPSE ohnnie Burn is a mad scientist of sound. He can take what you would think would be an ordinary, mundane scene and craft it into a masterpiece. Tuning winds into score and turning taps on a windscreen into a monster. I was first introduced to Johnnie's work when I sat down to watch an awards screener for The Favourite and was absolutely blown away by how good the sound was. I reached out to him and interviewed him about the sound on that film for M OT I O N P I CTU R E S O U N D E D I TO R S 33 J Photo by Kevin Scanlon

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