Issue link: https://digital.copcomm.com/i/1529989
M OT I O N P I CTU R E S O U N D E D I TO R S 97 trust. Even though we are often in our own little dark rooms all over the world, we are still able to stay in touch, messaging each other, or quickly sending audio files to one another in order to bounce ideas around. Communication is key, especially on films with tight budgets and schedules or films with ever-changing VFX (which is pretty much most projects). We need to know how best to focus our Foley recording time. I feel that you definitely need to be fluid and flexible to work in this industry. Outside of film and television, music is still a big part of my life. Either noodling at home on guitar or keyboard, listening to records, or going to live gigs when I can. If I'm busy for a long period of time and have a couple of quieter weeks, I can find it hard to wind down and decompress. Being freelance, there is some pressure to never say 'no' to work; if I say no too much, the phone may stop ringing. But it's something I am getting better at, trying to find a work/life balance. Having a young daughter has helped me find that balance. It's given me a different focus; being able to take her to school or activities or simply get outside and go to a park. She is also now at an age where I can introduce her to films that I loved as a child which is fun. I dare say that everyone that works in film sound was first and foremost, a movie fan, and I'm no different. I feel very fortunate to be able to have a career in this industry. Above: Message from George Miller, Three Thousand Years of Longing, 2022. Photo: Adrian Medhurst Adrian, Acoustic Pathways Foley room (with motorbikes). Photo by Richie Gordon