Issue link: https://digital.copcomm.com/i/1512183
86 M PS E . O R G Paterson, who was incredibly generous and brought me onto her next job with Andrew. Even as an intern, Andrew made me feel like I was part of the sound team. He didn't really care whether I had any knowledge of the equipment or previous experience, he really took his cues from a person's personality. It must have been his history in psychology, which he'd talk about every so often, saying it was the most useful degree for his career in film! I believe it too. His superpower was his ability to translate his feelings about a scene into sound. He never talked about the tools, the equipment, the latest software or anything like that; it was always just about how to evoke feelings and mood. Left: Andrew Plain, 1999. Right: at AFI Awards Ceremony, 2010. ◀ Trust Your Ears he first time I met the towering Andrew Plain was at a discussion panel on sound for film at the Australian Film Television and Radio School. I was attending Macquarie University at the time and came across a flyer advertising a free event with the sound team behind Oscar and Lucinda (1997, Dir: Gillian Armstrong, AFI Award Best Sound), one of my favourite movies at the time. I showed up by myself and, as I listened to Andrew and his colleagues speak about their work on the film, I was hooked. I had found my ideal career. From there, I sought out one of Andrew's colleagues, Jane LIDIA TAMPLENIZZA is a sound supervisor and re-recording mixer. Lidia has been working in the industry since 1999, starting in Australia and then moving to the US in 2005. She has worked on the first season of True Detective, Carol, Little Women, Glass, Palmer, Don't Worry Darling, The Menu, to name a few projects, and has received six MPSE Award nominations. She is currently working at Warner Bros. NY with Skip Lievsay on an Apple TV series, directed by Alfonso Cuarón. T