Issue link: https://digital.copcomm.com/i/1543070
18 S P R I N G 2 0 2 6 I C A S Q U A R T E R L Y S kip Lievsay CAS is a renowned re-recording mixer and supervising sound editor who has been active in the industry for almost 50 years, establishing strong work relationships with acclaimed filmmakers such as the Coen Brothers and Alfonso Cuarón. Some of his widely recognized and awarded contributions to storytelling through sound include films like Gravity, No Country for Old Men, True Grit, and Roma, among many others. His meticulous work earned him an Academy Award for Gravity, seven additional Academy Award nominations, multiple CAS Awards, and numerous other global recognitions. Skip's sound design and editorial work was honored in 2015 with him receiving the MPSE Career Achievement Award. His excellence and boundary-pushing are evident in his dynamic mixes, which effectively utilize sound and silence as powerful tools to heighten drama and immersion. I had the honor of speaking with Skip about his background and career journey. In this interview, he discusses the meaning of being the recipient of this year's CAS Career Achievement Award, talks about his approach to sound in his early career, and how his craft and technique have evolved. He also highlights the collaborative process and interaction with people as the most crucial elements of his career. This article complements previous features on Skip in the CAS Quarterly (Spring 2008, Summer 2009, Spring 2011, and Spring 2014), where he offered interesting and enlightening insights into his work on specific films. All past issues are available on the CAS website under the Publications > CAS Quarterly Archives. Congratulations on this award, for this recognition. What does it mean to be honored with the Career Achievement Award by the Cinema Audio Society? It's so unexpected to be asked to join this inner circle of the great mixers of our time, whose work I deeply admire and respect—many of whom I know and have worked with. These artists represent the highest level of contribution to the field. Sitting behind them as supervising sound editor and observing their work, I was humbled and concerned by the notion that I would never master this craft. Wondering how they know what to do and where they learned it. The prospect of becoming a mixer required me to somehow convert my sound editing knowledge into a method of mixing. The best mixers deeply understand the importance of pulling the audience into the drama. When you listen to their movies, the knowledge and the skill shine through. I'm honored to be in the same league with these giants. How do you approach your mixing process? What's your process to get an idea of what a movie should sound like? I used to tease my wife, who started out as an editor. I'd say to her, "All you have to do is get rid of the bad parts and then you have the movie." Then she would laugh THE CAS CAREER ACHIEVEMENT AWARD RECIPIENT: Re-Recording Mixer SKIP LIEVSAY CAS b y D a n i e l V a s q u e z V . C A S