CAS Quarterly

Spring 2026

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C I N E M A A U D I O S O C I E T Y. O R G 25 Eugene Gearty, my longtime collaborator and scheming partner. Phil Stockton, Ron Bochar, and Bruce Pross brought C5 to life, with help from Marissa Littlefield. Jerry Ross and George Berndt and the Acme people showed me "the way and the light." Greg Orloff entered stage right on the BLT Coen mixes. Craig Berkey and Bobby Mackston joined me on many hybrid console mixes, figuring that process out. A special thanks to Craig Berkey and Craig Henighan. Over many projects, we fashioned a workflow where skill and patient editing and mixing enabled us to achieve the goals of our directors. Kim Waugh welcomed me to Warner and launched the Pro Skip Lievsay, Niv Adiri, Christopher Benstead, and Chris Munro at the Oscars in 2014. Photo by Jason Merritt (Getty Images) Tools age with the fully outfitted Stage 6. With the help of Kevin Collier and WB editors Aaron Glascock, Jeremy Peirson, and Joel Dougherty, we had a fully functioning digital mix facility. Special thanks to Mark Solomon for sending me to London to mix Gravity. Back to New York, Paul Urmson, Kim Waugh, Carol Mintz, and I construct WBNY. Many thanks to Paul Urmson who co-managed, co-supervised, and co-mixed dozens of films at WBNY. Craig Henighan and I mixed The Secret Life of Walter Mitty (2013)—the first mix at WBNY and the first of many of Craig's projects at WBNY. With the help of my great collaborators— Michael Feuser, Lydia Tamplenizza, Nora Linde, Mar Heredia, Ja-Ann Wang, Rick Chefalas, Larry Zipf, Rich Bologna, and Andy Kris. Engineering by Kyle Miller, Nina Leitenberg, and Mitch Wareham. I'd like to thank these generous and wise filmmakers: Joel and Ethan Coen, Martin Scorsese, Spike Lee, Alfonso Cuaron, and Benny and Josh Safdie. Francis Lawrence, Tim Burton, Robert Altman, Darren Aronofsky, Jonathan Demme, Davis Guggenheim, Errol Morris, John Sayles, Danny DeVito, Scott Cooper, and many others for the kindness and generosity they have shown to me over these 50 years.

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