Issue link: https://digital.copcomm.com/i/1535880
M OT I O N P I CTU R E S O U N D E D I TO R S 53 his plate anyway. He asked if I'd like him to recommend me to David as the sound supervisor. Needless to say, I jumped at the chance. Alan had also become a bit wary of the more disturbing elements of Lynch's work—Blue Velvet in particular—and I think he wasn't sure he wanted to dive into something similar again. So I took the baton. I met David and his editor Duwayne Dunham in their cutting room at CFI in LA. We had a spotting session where they laid out the plan for the film. I was a bit starstruck—David was already one of my creative heroes—but I quickly warmed to his folksy charm, boundless enthusiasm, and creative spirit. Lynch had a truly unique sense of sound and sonic storytelling in movies. How would you describe his approach? David deeply understood sound's emotional and narrative power. He was in full agreement with George Lucas' famous line that sound is 50% of the moviegoing experience. He loved the sound process. Starting with the Twin Peaks pilot, he began mixing music on his own projects and never looked back. For him, mixing was the moment where the film finally became itself— where all the elements were locked in and real. He compared it to painting: Every decision is final, and every gesture affects the whole. He was wonderfully supportive and experimental in the mix. His direction was practical and inquisitive rather than theoretical. He might say something like, "That's wonderful! What if we slowed it down?"—always curious, always exploring. He didn't talk about sound in abstract terms—he just listened carefully and gave