Issue link: https://digital.copcomm.com/i/1521715
by Amanda Beggs CAS I was already a fan of director Jeff Nichols' work, so to get to work on one of his movies, and his first one in seven years, was such an honor and truly a high point in my career. Jeff is a director who truly cares about sound, because his movies are all about story and performance. And that's at the heart of what Production Sound Mixers do—we protect the performance. After I had read the script, Jeff and I had a two-hour phone conversation. He has previously always worked with the same Production Sound Mixer (Pud Cusack CAS). Pud was unavailable for this shoot, so Jeff wanted to make sure I was a good fit for the project. We talked about the script and the book, which I was already aware of, and the logistics of recording good sound around very loud vintage motorcycles, and we also talked about how he likes to run his sets, which told me immediately that we would get along. Jeff creates an environment on set that allows the actors to perform at their highest and best abilities. He has a dedicated and loyal crew that returns for movie after movie. They have a history and a shorthand that could feel intimidating to a newcomer, but I've never more quickly clicked and fit in with a crew than on this movie. Everyone had each other's backs, as we were all working to achieve Jeff's vision, and so no one department's problems were considered trivial. Everyone was kind, and there was no yelling. I know, it sounds like I'm lying, but I promise you, this show was a joy to work on. The camera crew and I have repeatedly said to each other—we HAVE to do this again. One of the Production Sound Mixer's responsibilities is putting together the right crew for a show. While I call myself lucky to have a great shortlist of names, as this movie was filming outside of Los Angeles, I would only get to bring a Boom Operator with me, and would need to look into hiring a local, and therefore, unknown to me, Utility Sound Technician. To add to the fun, none of my regular Boom Operators were available (remember when the town was busy…?) which meant I had to also work with a Boom Operator who was new to me. So, all together, that's a sound crew where none of the members have ever worked with each other. Things could have gone very badly, but the sound gods smiled on me, as legendary Boom Operator David M. Roberts was available and interested. The Bikeriders is a story that takes place in Chicago from the 1950s to the 1970s. Production decided to use Cincinnati, Ohio, as the filming location, which meant I needed to find a Utility Sound Technician local to Ohio. Again, the sound gods smiled, and I found the best utility in all of Ohio (who also just joined Local 695 this past year and so he can now work in both areas!). Zach Mueller made me feel welcomed to the Cincy film community, and he and David got along famously. One of the highest compliments that a Sound Mixer can receive is to be told that they've put together a great crew. After all, the boom and utility A common question we've all received is the following one: "What's your favorite show you've worked on?" I find that it can be hard to know how to reply to that question. A show can be a favorite for many different reasons. Was it a good script, was I proud of the finished product, did the crew all get along, was it filmed in a fun location, did I overcome the challenges I faced? Not every show will check all those boxes. I've had "favorite shows" that were so because of a great crew, but maybe the end product wasn't top notch. And I've done some great work on a solid-scripted show but the working conditions were rough and not enjoyable. I can now say without hesitation that The Bikeriders is my favorite show.