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 71 been an important part of the cinema community's priorities—how did you find yourself embarking on this important activity? PA: Both my parents were schoolteachers, so I guess the educational aspect is something that came very natural to me. I've always loved teaching and lecturing about sound as I feel that verbalizing my creative process has also made me better at communicating with directors and the team I'm working with— it has made me a better sound designer. When I started working with film sound, there was very little literature about sound and even though there are nowadays many more books and a lot of wonderful online resources about film sound, I still feel like it's really important to educate new generations and inspire both filmmakers, film students, and audiences around the world. We have way more words about visuals than we do about audio, but I was a music critic for several years at one of Denmark's biggest newspapers and this also taught me a lot about describing any kind of auditory experience. At the same time, this means that writing comes very naturally to me and doing updates and texts for social media platforms is easy for me. A lot of colleagues are amazed by my number of online activities when I'm also working on a lot of different movies but for me, it's just something I do when I take a break or need a little pause from my sound work. Sound and movies are not only work for me, but it's also my biggest passion and I love sharing my passion. A little more than a year ago, I started a cinema club for film sound in the best Dolby Atmos theater in Copenhagen, where I'm hosting monthly screenings with a special focus on sound. I've shown films like All Quiet on the Western Front, Oppenheimer, The Killer, Moonage Daydream, The Zone of Interest, Dune: Part One & Dune: Part Two, The Matrix, and even my all- time favorite film for sound, Apocalypse Now. I've also been able to arrange video interviews with masters like Ren Klyce, Richard King, Mark Mangini, Will Files, Tom Fleischman, Dane Davis, and Erik Aadahl to show before the films. Some people might think that screenings like these would only attract audio nerds but there's always a big audience attending these events. People who just like movies and have been super excited to learn more about sound for movies. I really believe that we can all learn from each other and the more we share about the work we do, the more we inspire people around the world to love and appreciate sound. That's also why I'm both a part of the MPSE, CAS, and the UK association of sound people, AMPS. The more we support and help each other, the better we all become. Embracing immersive film sound has also been an important facet of your work— can you describe how you aesthetically create immersive sound for cinema? PA: I love to be enveloped and Peter Albrechtsen moderating a film sound seminar with Randy Thom at the Danish Film School May 2024. Photo by Malthe Ivarsson.