Issue link: https://digital.copcomm.com/i/1521235
86 M PS E . O R G inch analogue tape, DASH, ADAT, and DA88 digital tape or one of the other strange formats that have since come and gone. It was the Wild West, but a really exciting time. I feel fortunate to have learned how to cut mag film, operate analogue tape machines, mag dubbers, and a variety of digital equipment. It gave me a good grounding in signal flow and the mechanics of post- production. As the digital systems replaced film sprockets, it became clear that fewer people were needed to do the work and crews would soon be getting smaller. Many editors chose to learn the new systems while others looked for the exits. These same forces also brought about a major change in my assistant editor duties. Besides the usual building of dialogue assemblies, printing cue sheets, and carrying units to stage, we now had to diagnose editing system problems, manage computer systems (and storage), and understand complex signal flow, along with a myriad of new technical responsibilities. Skills that I had been gathering for years were suddenly vital to the editing process. Pro Tools has emerged as the industry standard for most film sound editing but that early education in analogue and digital workflow prepared me for this new era of post-production. I can see on your filmography you have worked as a dialogue editor, a sound editor, and a re-recording mixer on the odd film. How did you find working in these different capacities? What opportunities did they provide you? It was my incredibly good fortune to connect with Richard King when I did. He has taught me so much and has always been extremely So, what made you leave the safety of working at a sound post facility to become a freelancer? Unfortunately, as the 2000s approached, the heyday of the independent sound houses came to an end. But as one door closed, another opened. I received an offer from a supervising sound editor at Acme named Hamilton Sterling to be his first assistant on a Christopher Guest film, Almost Heroes. I had never been an assistant and still had tons to learn but Hammy was extremely patient and taught me a lot about the process. I made plenty of mistakes, but none were too catastrophic and so more offers followed. Other supervisors from the Acme days asked me to assist them and I kept learning. I was also fortunate to assist under the terrific leadership of several firsts like Linda Yeaney and Tricia Linklater from whom I learned even more. Then one day, another good friend from my Acme days, Hugo Weng, recommended me to a supervisor for whom I had never worked—Richard King. Little did I know how fateful that introduction would be! Richard needed an assistant to help with a film called One True Thing whilst he was finishing another project. I guess I did all right since Richard asked me back for Paul Thomas Anderson's Magnolia which was the start of my long collaboration with Richard. As Humphrey Bogart might say, it was the beginning of a beautiful friendship! Twenty-five years and some 40-plus films later, we are still working together. And I have treasured every moment of it! When I think about the length of your career, technology has changed so much since you started. What has been the impact on your role? I joined Acme Soundworks at a time when sound editing was transitioning from film to digital, but the process was still a hybrid of the two. There were multiple digital editing platforms competing for market share, so you had to learn all of them. Magnetic film was still in use, but the digital systems were making inroads fast. Pro Tools was in its infancy, so Acme had Audiovisions, Fairlights, Pro Tools, and Waveframes, in addition to KEM flatbeds, film benches, and synchronisers. And no one was mixing directly from the digital systems yet, so edit sessions had to be laid-back to magnetic film, two- The Way Back sound post crew, Deluxe Stage One, Sydney, (2009). Photo by Ron Bartlett.