Issue link: https://digital.copcomm.com/i/1535880
48 M PS E . O R G author sign for me. It was directed by Daniel Espinosa. We had done Safe House with him, and it was another feeling of immediate connection. It helped that he and his Swedish crew were wonderful and kind and on Safe House, they seemed to have the "Oh, my gosh, we're mixing in Hollywood!" enthusiastic attitude. Because of the films I had worked on, I had built in unearned respect from them. "You worked on Heat?" "Well, yeah, I helped on that." "That's awesome!" Pietro Scalia was cutting Child 44 down to size from a previous too- long edit turned over by another picture editor. Pietro is a passionate, professional, talented, but still a regular guy and was always a pleasure to work with. He had cut most of those Ridley Scott films we worked on, including American Gangster. I remember him cooking with Liliana Zurawska in that Todd West kitchen making us all a big Italian dinner and thinking, "oh, my goodness, this guy worked with Bertolucci and here he is making us pasta." We were mixing on two stages at Universal, the Hitchcock and the one across from it (the Mancini?) It's the stages where you walked outside and heard the Jurassic Park theme playing on endless loop as background for the theme park ride that was right on the other side of that fence. Mix tech, the great and powerful Bill Meadows, was the glue holding things together, supplying me with Snickers bars and protecting me from my technical inadequacies. Was this the show where he and I one morning completely emptied the universal commissary of bacon or was it another? Without Bill Meadows, first assistant Phil Morrill, techs like Eddie Bydalek, Drew Webster, Unsun Song, and so many others on so many shows, I would have been lost at sea. They got things ready before we got there, kept things running during the mix, and fixed things after we left. They are better at their jobs than I ever was at mine. I bow before them. On one stage were Frankie Montaño and Jon Taylor, on the Child 44 (2015) three of the four Chris's: supervising ADR editor Chris Largo, sound designer Chris Assells, and ADR editor Chris Welch. Bob Beemer and Gary Rizzo.