Issue link: https://digital.copcomm.com/i/1529989
70 M PS E . O R G into the script makes me feel very privileged. Scripts are often very focused on dialogue and plot but when you start talking about sound this early, you immediately start talking about the cinematic storytelling and that is really inspiring for everybody—for me, for the director, but also for everyone else on the team. On several recent projects, we've made some sound design sketches before the shooting begun just based on the scenes in the script—sometimes only sound and sometimes using visual material that we pick from other films and then creating new sound for this—and these sketches have been shown to the cinematographer, to the producer, and to the actors and have been very inspiring for everybody. For the last project I did, the director told me that one of these sketches even helped finance the movie! I love to work abroad, but generally, I just feel very lucky to be part of the Danish film environment at the moment as there are so many gifted directors working here right now. Denmark is a very small country—only 5 million citizens—but several Danish films are traveling the world on the international festival circuit. Just during the last four years, I've been a guest at the Oscar show twice, as both The Cave and A House Made of Splinters got nominated for the golden statuette in the Documentary category. It's been almost surrealistic but also makes me very happy. It feels good to know that someone out there is watching. And hopefully listening, as well. Education and film appreciation has become a big part of your interests. Educating a new generation of film artisans has always Cinema Sound Club Event in Copenhagen hosted by Peter Albrechtsen at screening of Dune: Part Two.