Issue link: https://digital.copcomm.com/i/1521235
M OT I O N P I CTU R E S O U N D E D I TO R S 83 BY JENNY WARD MPSE n the digital era, assistant sound editing has become a complex role of stewardship, incorporating not only the relational but also the very technical. How to keep the wheels greased on a big-budget Hollywood film, juggling the demands of a large team, with tons of data to wrangle and all the technical spanners that could get thrown into the works? This potentially chaotic environment requires the calm and steady hand of a first assistant sound editor, so let's ask one of the best to see how he manages it. Andrew Bock has a career spanning more than 25 years and 77-plus films, and a long-standing working relationship with sound designer Richard King. (When I asked Richard who his favourite collaborator has been over the years, he was quick to name Andrew, followed by Christopher Nolan, no less.) Finding time to talk to Andrew was tricky; he had just completed work on a trio of huge films—Oppenheimer, Maestro, and Dune: Part Two—and was about to start work on another special project. "If everyone is moving forward together, then success takes care of itself." ‒H E N R Y F O R D of Collaboration I