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 31 in the arc of my career and my life. Here's the failure part for which I am deeply ashamed: I never thanked John Hanley for this gift of faith and trust. He got sick and passed not long after his departure from the film. Bless you, John. I am deeply indebted. I'm so sorry I never got to say thank-you to you. SSS: I understand. And the fact that it introduced you to Stephen Flick and Richard Anderson, that changed the course of your career. MM: Indeed. Richard Anderson and Stephen Flick had been successful independent sound editors working around Hollywood. They had seen every studio, and they were well seasoned. They took me under their wings and taught me everything they knew. They were smart, creative editors. I learned a great deal from them. SSS: Did you ever cut for them? Or were you just supervising? Did you start off supervising? MM: Oh, no. I cut, a lot. I had to learn by doing. In the early days of our company, we did everything collectively, recording, editing, library work, you name it. It wasn't till I had worked on five or six feature films with them, after leaving Paramount, that I got my first shot at supervising. We were working for Cannon Films at the time, one of the cheesiest, low-budget film studios in the early '80s. Steve and Richard were on one of their films, supervising something that I was cutting on and Cannon offered them another film. They thought this is Mark's shot. They said, "Let the kid do it" and so, that was my first supervising job. SSS: Well, and you've been supervising since, you never cut again. MM: No. I always cut. It's what I do. I cut on everything I do. The film I'm on right now, I cut everything because we couldn't afford a sound editor. L-R: Mark, Stephen Hunter Flick, Richard Anderson c. 1983 Mark and Ann Mangini c. 2016