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M OT I O N P I CTU R E S O U N D E D I TO R S 15 dedication to his craft and his determination to work on one more Oliver Stone film led him to extraordinary measures, such as sleeping on the floor of his Sony office and showering at the gym to ensure he didn't miss out on the opportunity. This period was a testament to Mark's unwavering commitment to his passion for sound editing and his willingness to go above and beyond to work on projects that inspired him. Mark found himself working on Starship Troopers (1997), a project that showcased his expertise in sound design. Collaborating with professionals like Steve Flick from The Creative Cafe, Charles Maynes, Ben Wilkins, and Warren Hamilton. In the late '90s, Mark found himself at an independent studio called Fidelity Sound, initially a music studio but eager to venture into post-production. Adam Ripp, a producer, was impressed by Mark's work on Bryan Singer's Sundance Film Festival project, Public Access, and sought his expertise. At Fidelity Sound, Mark took on diverse projects, including supervising cartoons, a realm he had not previously explored. Additionally, he delved into the works of director Albert Pyun, known for his distinctive B-movie style. Mark contributed his sound editing skills to Pyun's films like Mean Guns (1997) and Crazy Six (1997), collaborating with actors like Ice T, Mario Van Peebles, and Rob Lowe. Albert Pyun's unique filmmaking style garnered a dedicated fan following, with even Hollywood A-lister George Clooney attending one of their screenings. Over at Westwind Media, Marla McGuire reached out to Mark with an enticing opportunity on a pilot for a medical drama series called Grey's Anatomy. Mark had previously hired Marla at Fidelity after becoming friends at Sony Pictures. Mark's creative touch left an indelible mark on the series. He added a unique audio element, a Vespa by, he inserted it during a pregnant pause within the dialogue. This subtle addition, bordering on comical, added a distinctive and fitting touch to the scene. The Vespa by became a favourite among the show's creators, and they continued to request its inclusion in subsequent episodes. Mark remained with the series throughout its first season, handling sound effects and backgrounds. The Vespa by continues to appear in the show to this day. At this point, Mark found himself editing extensively for television, supervising features during the summer lulls in TV production. One of Mark's memorable endeavors was cutting for Sonic Surgery, specifically on the first three seasons of The Shield (2002). Recognising the show's unique and edgy qualities, he was impressed by its raw and gritty portrayal of the police force. Mark's work on The Shield involved extensive original sound recordings, particularly focused on capturing authentic gun- related sounds. Additionally, Mark's portfolio at Sonic Surgery included work on Nash Bridges, music videos, and various other projects, including a ride at LEGOLAND. While working at Weddington Productions with Mark Mangini and David Whittaker, Mark shared a fun story about recording go- karts for the movie Catch That Kid (2004). He and his team rented a small track at Willow Springs, where they enlisted skilled drivers with high-performance go-karts, typically used for racing. To capture the authentic sounds, Mark strapped his recording equipment onto one of the drivers, securing microphones in strategic positions on the kart. As the driver raced around the track, Mark and his team recorded the various sounds produced by the go-kart, including engine roars, tire screeches, and other mechanical noises. They had a thrilling time as the go- karts reached speeds of up to 90 miles per hour, with the drivers navigating the track just an inch and a half off the ground. After successfully capturing the desired audio recordings, Mark concluded the session by taking the carts out for a few laps! While at Weddington, he collaborated with highly skilled professionals like Mark Mangini and Mark Binder. He edited productions such as A Man Apart (2003), Out for a Kill (2003), Paparazzi (2004), and Wonderland (2003), featuring Val Kilmer. One significant opportunity that stood out at this time was a BMW Z4 commercial project at Weddington Productions. Mark Mangini was originally not going to have the time to cut it, leading to Mark Lanza's involvement. At the last minute, Mangini became available and did the commercial. Mark Lanza was initially disappointed that he didn't get the gig but after watching the finished product, he was in awe at the exceptional sound work. Mangini's ability to elevate the commercial to new heights showcased the level of excellence that he consistently brought to his work. During his stint on Dexter, Mark encountered a rather peculiar directive from the show's sound supervisor. The supervisor