Issue link: https://digital.copcomm.com/i/1512183
M OT I O N P I CTU R E S O U N D E D I TO R S 87 I've really taken that to heart in my career. I think especially as a woman going into re-recording mixing, it's easy to get intimidated by all the equipment and tools involved, but I'm reminded that it's ultimately not about the tools; it's about trusting your ears. After interning with Andrew, he gave me my first position as his sound assistant on a little indie film called La Spagnola (2001, Dir: Steve Jacobs). I was thrown in the deep end and learned so much from Andrew and his crew. After that was a film called Lantana (2002, Dir: Ray Lawrence), where I got to be present at the spotting sessions, and be on the stage while they mixed, witnessing the construction of the soundtrack from beginning to end. Andrew was so open and generous with his time. Seeing how he interacted with the director and editor, talked to the sound editors and mixers; it Group photo of AACTA Award winners, 2013 (Andrew, second seated row, 4th from the left - Ben Osmo, Warwick Thornton, Dany Cooper, and Andrew) was a delicate, encouraging, and creative dance. He was a people person first and foremost, and that is the reason directors like Gillian Armstrong and Jane Campion would work with Andrew again and again. It also isn't lost on me that Andrew employed and encouraged many women to pursue their careers in sound. He always pushed me out of my comfort zone and believed in me more than I believed in myself. When I wanted to move to the US, he was one of the most supportive voices in a sea of naysayers. I've learned so much in the years I've been in the US, working with other incredible sound supervisors like Eliza Paley, Paul Urmson and His superpower was his ability to translate his feelings about a scene into sound. For him, sound editing was always about how to evoke feelings and mood.