Issue link: https://digital.copcomm.com/i/1543070
24 S P R I N G 2 0 2 6 I C A S Q U A R T E R L Y have a clean recording of everything that was scripted and shot. This is an enormous help in the edit. It's such a clear goal to have, but it has so many obstacles to achieving based on the circumstances of each project. What has been your involvement in education? I've been working with film sound students for a long time. I've done many lectures in London and Copenhagen, and I've worked with my wife and her students at Columbia University. I think it would be useful for me to pass on what I've learned about mixing in Atmos to these students. They're interested, but many think it's too complicated and too expensive. Actually, it isn't. It just takes a little patience. I've talked to Dolby about that, and maybe something will happen there. That's a retirement ambition, passing on what I've learned about Atmos mixing. Do you have any other passions, hobbies, or activities? And what comes next for you? I'm going to really try to wind down next year. I will try to be available for a core group of filmmakers who I've been working with for a long time. The Coen Brothers, for instance, and Alfonso Cuaron, Darren Aronofsky, and the Safdie Brothers. I've been doing more and more drawing and painting, trying to exercise that side of my brain. I might try to make some music, as a producer. I've been working on a jazz record for quite a long time and would like to do that as more of a hobby. I'd like to learn how to play piano. In terms of chairs, I'll try to complete the dining room table in my woodshop. I like to hammer and saw and just try to stay active and make the clock go the other direction. How did you become involved in the Cinema Audio Society? When I first became aware of CAS, it represented the elite mixers of the film industry in Los Angeles, a society which came together to share ideas and to honor the sound work of the year. Working mostly outside the studio system, I was surprised to see that it might be possible to be part of CAS. I was asked to become a member of CAS and was honored to accept. During my time living in Los Angeles, I served on the Board and witnessed the inner workings, the concerns of the members for the industry and for each other. It's a great organization to be part of! Any closing thoughts after reflecting on your life for this achievement? I'd like to recognize some of the people who helped me along the way and made it possible for me to be here. After Mark Silverman introduced me to the Coen Brothers, I mixed at Sound One with Mel Zelniker, Lee Dichter, Tom Fleischman, and Michael Barry. Skip Lievsay, Niv Adiri, Chris Munro, and Christopher Benstead at the Oscars in 2014. Photo by Kevork Djansezian (Getty Images)