Issue link: https://digital.copcomm.com/i/1512183
76 M PS E . O R G He will be remembered as an important film sound designer, innovator, writer, educator, and advocate for the Australian film industry. He was also a generous and brave man. He never succumbed to self-pity, approaching the diagnosis of melanoma with his customary and unique mixture of equanimity and black humour. Up until the end of his life, he remained vitally engaged with the issues and events of the world and interested in the lives and welfare of others. ■ WILLIAM WARD is an award-winning producer, post-production supervisor and sound supervisor with more than 25 years of experience in film and television. His film work has ranged from large-scale studio productions to Australian independent feature films, including Red Dog, The Sapphires, I, Frankenstein, Paranoia,Tomorrow When the War Began, Peter Weir's The Way Back, and Baz Luhrmann's Australia, and The Great Gatsby. He was Head of Sound at StageOne Sound/Deluxe Australia, and prior to that, was Head of Sound at Huzzah/ Spectrum Films. In 2018, he started as a producer and post supervisor at Wildbear Entertainment and has since worked on more than 40 titles. His most recent project was as producer on Ride, a feature-length documentary about the lives and careers of BMX world champions Sam and Alise Willoughby. M Annie Breslin, Andrew, and Will Ward, ASSG Awards, 2008. Sound), it was my first experience with designing sound for action sequences—car chases, gunfights, etc. Your first instinct is to cover everything and make it sound loud and epic. But it was Andrew who would pull us back to the story and get us to understand how sound could drive or support the narrative, by isolating sounds and creating moments to emphasise a character's feeling, even as a missile is about to be launched from a fighter jet and blow up the whole neighbourhood! Working as a freelancer in the world of film can be a very isolating occupation. What Andrew and his wife Adrienne achieved through establishing Huzzah Sound was to create an environment where people felt respected. It was a place where you were encouraged to be creative and, with Andrew's faith, trust, and guiding ear, have the confidence to build on and expand your abilities. Being freelance, you would often work away from Huzzah, but for me and many others, Huzzah was always home. I will always remember: • the laughing lunches, where we ◀ An Environment of Mutual Respect y first real interaction with Andrew was at a union meeting (MEAA) and my attendance was a ruse. My sole reason for going was to introduce myself to Andrew and get my foot in the door at Huzzah Sound. In his usual way, he was very encouraging and, after a few follow-ups and a recommendation from a friend, I got a job as an assistant on Anacondas: The Hunt for the Blood Orchid (2004, Dir: Dwight Little) at Huzzah Sound. It was the job that changed the direction of my life. The grounding on one film at Huzzah taught me more than any course could ever provide. Andrew had this hands-off, yet stills hands- on, approach that encouraged you to be independent and try things, while still giving you the feeling of being supported. Just a word here or there from Andrew would move you in the right direction. When we did Tomorrow When the War Began (2010, Dir: Stuart Beattie, AACTA Award Best