Issue link: https://digital.copcomm.com/i/1512183
78 M PS E . O R G would try to outdo each other with black or "dad" humour • how his baking abilities would always shine on your birthday • his ability to make a story come to life with a little sound tweak here or there, which would always amaze and inspire me • the text messages across the mix theatre where you could tell what was in that message before you read it based on the grin on his face • the way he greeted you in the morning, where he would draw out my name with a slight upward inflection at the end, which could mean a thousand possibilities for the day ahead • him sitting in a darkened mix theatre, hand in his mouth, trying not to stress; sometimes one finger, sometimes two (I don't know how he didn't chew his fingers down to his knuckles) When Andrew was first diagnosed with melanoma, it was like a rallying call to those who had worked at Huzzah over the years. Such was the love and respect of those around him that everyone came together to ensure Huzzah continued to secure new work and prosper. One of the last films I did with Andrew was called Felony (2013, Dir: Matthew Saville), and we really got the opportunity to lean into the Top: Will Ward and Andrew. Below: Andrew in his office, Huzzah Sound, 2010. characters with the sound design. In the film, one pivotal incident affects each of the three main characters differently, but our job was to maintain pressure on them, and not let them off the hook as they tried to make decisions about what to do next. A tonal bed was built for each character which could be intensified when needed. These sounds were all sourced from items under pressure—steam, metal, air, and gas were all augmented and stretched to create these organic tonal beds. We also kept up a constant presence around them, so they had no chance to rest: police radios, people talking or fighting through apartment walls, voices and movement from outside, there was always noise. We could turn the pressure up or down as needed in the story. During this time, despite his failing health, Andrew still came to work, listening to our work, providing support and guidance to the sound crew and to the filmmakers. He would attend mixes, print master or DCP screenings, and afterward, I would get a phone call from him saying, "fantastic." He owned the word "fantastic," the way he said it would relay his joy, excitement, and respect for a job well done. Seeing him so proud of what had been accomplished means Felony will always be one of my favourite soundtracks. Part of the success of Andrew and Huzzah Sound can be attributed to this mutual respect for others, this unwavering love of storytelling and filmmaking. Huzzah always felt like a very special place to be, and I was deeply honoured when Adrienne asked me to take over when