Issue link: https://digital.copcomm.com/i/1518296
M OT I O N P I CTU R E S O U N D E D I TO R S 11 exploring the potential of using computers for sound manipulation. This encounter opened the door to a new world of possibilities. His classmate had experience in live sound, animation, and television, and Mark's computer skills made him a valuable asset for managing the technical aspects of the new digital world of sound editing. An early project Mark helped on was Honey, I Shrunk the Kids (1989). In a quest for authenticity, he embarked on a mission to capture the sounds that would make the movie's miniature-sized characters and oversized backyard setting come to life during a bee- chase sequence. Before the actual recording started, Mark was setting up equipment and he encountered an unexpected and painful twist in his quest for realism. A bee, perhaps feeling threatened or simply asserting its territory, stung Mark right below his nose. Not a great way to start the day. Mark's first significant, and paid opportunity in sound came when he was offered a position as an assistant on the Oliver Stone film, Born on the Fourth of July (1989), starring Tom Cruise. Working alongside seasoned professionals like Wylie Stateman and Michael Minkler, it was during this early phase of Mark's career that he learned the intense focus on storytelling through sound. He realized that sound was not merely a technical aspect but a powerful tool for directing the audience's attention and enhancing the emotional impact of a film. Under Wylie's mentorship, Mark was exposed to a world of opportunities and experiences that were instrumental in his growth as a sound recordist and editor. Their recording shoots took them to diverse locations, including a police academy firing range, where they captured the thunderous sounds of confiscated weapons being fired. Mark vividly recalled the surreal experience of carrying an array of fully automatic firearms through the police academy like a character from a movie. They ventured to Dodger Stadium to record the distinctive sirens of police cars. The resulting recordings were so pristine and timeless that they became industry staples, eventually finding their way into The Hollywood Edge sound library. During this period, Mark had the privilege of learning from industry giants like Christopher Assells, Dino DiMuro, Frank Smathers, and David Baldwin, all renowned editors in Hollywood. The exposure to their expertise and the collaborative environment was a tremendous learning experience Manhunt (2020) left-right: Rob Young, Nick Offord, co-producer Guin McPherson, executive producer Michael Dinner, Michael Alexander, Ryan Collins, and supervising sound editor Mark Lanza MPSE. Photo courtesy of Mark Lanza. Sony Pictures, Stage 6. Electric Dreams ADR team L-R: Jackie Cowgill, Brian Smith, Steve Apostolina, Dave Cowgill, Edie Mirman, Mark Lanza. Sony studios, ADR Stage 3.