Issue link: https://digital.copcomm.com/i/1530210
NO ONE WANTED TO GO HOME! patterns although subtle, sounded like she was singing as she flew rather than stood still recording in a vocal booth. This was so successful that it just made the sequence sound so visceral and exiting. There was an element in her vocal that just brought the scene to life! There were too many moments on Wicked that were unique, but the one element threaded through our experience was the respect for capturing live production sound on the movie set despite the fact we were shooting on one of the biggest, most extravagant and immersive movies ever made. Jon M. Chu, Marc Platt, and their incredible cast were completely supportive of the premise that original performance, whether that be dialog or sung vocals, were to be lovingly nurtured and preserved. No matter what the challenges were for the sound & music team, we were treated as creative collaborators, part of this huge team who were brought together to make something truly special. The set was such a happy place to work. There were times when we had all the background dancers in, and as the end of the day approached, Jon would quietly say to Arthur, "let's hit some tunes on wrap." When Jack Ravenscroft, our 1st AD, said, "That's a wrap," we would have some drum and bass lined up on Pro Tools and the set would erupt into something similar to a huge Ibiza-style outdoor rave with all the professional dancers instantly freestyling their best moves, and Ari, Cynthia, and Jon Chu vogueing in the middle, all having a crazy party, supported by a sound system that was louder than many clubs with the subwoofers banging the bass. On more than one occasion, I had production staff saying, "We've got to turn the music off, this set needs turning around with a swing gang overnight and we've got to get the cast and crew out of here." NO ONE WANTED TO GO HOME! No matter how much I try and articulate the filmmaking relationship, nothing can express the magic and fluidity of this "dance" we do on set each day when all factors are in a beautiful rhythm. This is filmmaking in its most raw and fragile state. One poorly timed element and the dance loses lock step. This is the "dance" that myself, Arthur, Robin, Ben, and Josh performed again and again with integrity and flare. Blink and we're behind, be too cautious, and we've lost the magic. That dance is what gets me up in the morning, that dance is why I work in this crazy business! Winter 2025 – LOCAL695.COM 41 MAIN UNIT Arthur Fenn, Key 1st AS Robin Johnson, 1st AS Josh Winslade, Pro Tools Music Editor Taz Fairbanks, 2nd AS/Sound Coordinator Harry King, 3rd AS Emily Compton, 3rd AS 2ND UNIT Tom Barrow, Sound Mixer Alan Hill, Additional Sound Mixer Ben Jeffes, 1st AS Ash Sinani, Pro Tools Music Editor Billy Hayes, 2nd AS Jamie Scott, 3rd AS SPLINTER UNIT Simon Norman, Sound Mixer Billy Hayes, 1st AS Jake Hickey, 2nd AS Zak Ferguson, 3rd AS Jake Elliot, Pro Tools Music Editor Dan Leigh, Pro Tools Music Playback MUSIC Stephen Oremus, Executive Music Producer Dom Amendum, Music Producer Greg Wells, Music Producer Jack Dolman, Supervising Music Editor Maggie Rodford, Music Supervisor Ben Holder, Music Associate Robin Baynton, Music Engineer SOUND POST Andy Nelson, Re-recording Mixer John Marquis, Re-recording Mixer and Supervising Sound Editor, and Supervising Sound Editor Nancy Nugent Title The names above are all one team in complete and utter collaboration. Music & sound together on a journey of support, sensitivity, creativity, and exploration. All completely in tune and playing together like an orchestra. Thank you to my team, without you, it would be impossible: You're the very best. –SIMON HAYES AMPS CAS