Issue link: https://digital.copcomm.com/i/1532010
C I N E M A A U D I O S O C I E T Y. O R G 25 was just for the music scenes. Then, for the everyday stuff, we would still run the sound cart with two Nagras and a Cooper. Back then, this was about seven carts of gear which nowadays is probably three. Since both had unique, intricate setups, did you get the same amount of prep for The Doors as you did for Talk Radio? Hah, no, on The Doors we did it properly. They brought me in six weeks early on that. Thank goodness. And so, I was there for all the pre-records and got to know everybody. It was a great group to be with. The planning and collaboration we put in with Wylie Stateman, Paul A. Rothchild, and Bruce Botnick really ended up creating something special. I still have a great sense of "getting it right" in all the big- arena concert scenes. I was able to work on six films with Oliver Stone, each with immense challenges and reward. To this day, I have a theory that, with Oliver being Oliver, he might make Day One on his movies one of the more challenging days where he's throwing you sink or swim Mixing with a portable rig I made for After Earth in Costa Rica. Angling the boom mic over Will Ferrell on The Producers. On Signs having fun with (from left) Mike Scott, Scott Ramsey, Mel Gibson, Tod, M. Night Shyamalan, Brian Carmichael, and Frankie Graziadei. On Oliver Stone's Savages, hiding in the high desert. One of the 50 times Tod filmed on NYC subways during his career.