Issue link: https://digital.copcomm.com/i/1544300
M OT I O N P I CTU R E S O U N D E D I TO R S 27 Mark Mangini designing sound in his studio c. 2020 Mark Mangini in a bout of depression c. 2015 care how much time or money you spent recording new gunshots or designing creature voices. What they care about most is "Are these sounds telling the director's story?" I think anyone who has proven their worth in sound editing and sound re-recording has these skills. We know who the greats are. I don't want to name names, because then I'll leave out one that's every bit as good, and that would not be fair. SSS: But I was just curious if someone has that organic concept that you have regarding storytelling. MM: Certainly, Randy Thom, if for no other reason than he wrote the seminal work on the idea called "Designing a Movie for Sound." Think about what that says: We're not designing sound for a movie but designing a movie for sound … not after the fact but using sound to design a film from its inception. How might sound tell the story … without encumbering the script with words, the actors with a script, the director with direction. Maybe sound can lead even as early as the script. I learned from that, and I have those relationships with a few directors. Directors who have sometimes called me as they're writing to ask, "I'm trying to get through a scene. You might not be able to do anything, but do you have an idea for this? Could sound be more efficient here?" And occasionally, I'd have a useful and economical idea, one that leverages sound instead of exposition, and it goes in the script. I love the idea of sound to be proactive rather than reactive. SSS: Wow. I would like to find out what you feel was your hardest, most challenging film, where you thought you could have done better, or you didn't deliver enough? MM: I'll tell that story in a slightly different way. Early in my career, I didn't respect my ideas, and because of that, I didn't grow. I was afraid to express myself. Part of that stemmed from a creative anxiety often called "imposter syndrome," afraid you'll be found out for the hack you think you are. So, for example, I would be on a dubbing stage with a director, a re-recording mixer. and a producer, and we're trying to solve a problem together. People with a healthy sense of confidence throw out ideas, good or bad. They understand that it's part of a process, to beat up on an idea Mark Mangini in a bout of depression c. 2015