Issue link: https://digital.copcomm.com/i/1541612
C I N E M A A U D I O S O C I E T Y. O R G 57 What motivated you to step into the supervising role rather than staying strictly as a mixer? Was that decision more creative, strategic, or a bit of both? In a way, it was mostly accidental. When I decided to build my own place and start my own company, I suddenly had to find my own work; there was nobody else to do it for me. I haven't thought about this in a while, but the first couple of years went something like this: A job would come in, and I'd think, "Okay, I need a dialogue editor," so I'd call one up. "I need an effects editor," I'd call another. I'd build a crew for a show and, since I was the one bringing in the work, I had to schedule it, organize ADR when needed, and handle all the logistics. Out of necessity, I just started planning and scheduling. Because I was bringing in the jobs, I ended up mixing them and doing the deliverables and all the technical tasks that came along with it as well. It was probably two years or more of working that way before I realized something. One of my editors referred to me as his supervising sound editor, and I remember stopping for a moment and thinking—Wait, am I? My background was as an editor; I'd been a sound effects editor for about five or six years, and then a dialogue editor for another seven or eight before I switched over to mixing. So, I was always editing as I mixed. The idea of supervising wasn't foreign; it was just that I'd never thought of myself that way. I was simply doing what was necessary to work and survive. Lucien Palmer CAS MPSE