Issue link: https://digital.copcomm.com/i/1544300
34 M PS E . O R G people, blah, blah, blah, blah, because they were part of my system. What I really was afraid of was that George would see this and think, "this arrogant American, how dare he?" He sat on it for several weeks, and I thought, I've really screwed the pooch. He's not going to have me back. Doug Mitchell, our producer, called me back and said, "We're going to bring the post and the mix to Los Angeles to finish." And we did. SSS: Do you feel any remorse with your two fellow supervising sound editors? MM: Of course I do. I think about it a lot. I feel slightly absolved by reminding myself that the goal was to make the movie better. My best way forward was to bring the film into an environment that I had 100% confidence in, my home. There are amazing sound designers and supervisors in Australia, even more now than then. But I still felt like the Hollywood hack, you know, they brought in the flashy guy, and he's going to turn it up and make it special and fancy … that's what Hollywood does. I don't think I acted like that because my genuine interest was making the movie better. I presented that to George in my manifesto. It wasn't just, "Hey, bring it back to LA and I'll make it better." It was, here's how I'm going to do it. If he didn't like those ideas, I assume he would have stayed in Sydney, but he liked the ideas, and he thought it was worth a try. But I still carry the guilt about it because there were two supervisors, and then there was me, and only two can get nominated for an Academy Award. That meant one got left out, and that is painful to me to this day. SSS: How on earth was that decided on which supervisor? MM: Well, the decision was easy (and painful) to make. As you know, in the Academy Sound Branch, the rules state that a maximum of two supervising sound editors can be Mark Mangini, Theo Green on Dune c. 2021 Mark sits on Dune c.2021