Issue link: https://digital.copcomm.com/i/1512183
ello Wavelength readers! We hope you will find this discussion with our sound artist, Pavel Doreuli, to be interesting and enlightening. Pavel has been a principal talent in Russian film sound community for several decades and has worked on some very popular Russian and foreign films over the years, including Night Watch (2004), Stalingrad (2013), The Duelist (2016), Viking (2017), and Union of Salvation (2019) amongst many others. Recently, in response to the conflict between Russia and Ukraine, Pavel moved his film sound facility from Russia to Kazakhstan in order to develop a world-class film sound capability in the country. We hope you will find his story to be interesting! M OT I O N P I CTU R E S O U N D E D I TO R S 45 H MPSE Wavelength contributor Charles Maynes MPSE: Hello Pavel. Can you describe your journey into film sound editing for our Wavelength readers? Pavel Doreuli MPSE: I was born in Moscow in 1977. My mother is a doctor, and my father is an engineer. In addition to attending a general education school, I also went to a music school for piano, until my parents moved to a different district. So, as with many in our profession, it all started with music. I was always fascinated by synthesizers. I can't recall where I first encountered them, but I never had one of my own. I came across an article in the Young Technician magazine about how to solder a simple monophonic synthesizer, and together with my father, built a prototype device. By the time I was in high school, I acquired a couple of old Soviet synthesizers. In 1991, the USSR collapsed, marking the beginning of tough times. Instruments made by Western companies such as Ensoniq, AKAI, and E-MU became available but were prohibitively expensive. Due to that, I shifted my focus toward the guitar and bass, playing in a band with a sound leaning to punk and grunge. I graduated from a physics and mathematics high