Issue link: https://digital.copcomm.com/i/1545099
M OT I O N P I CTU R E S O U N D E D I TO R S 33 the film, but she had told me, "I don't believe in nepotism. If you want this job, go for it." (Okay, maybe there was a little bit of nepotism involved!). But Donn saw that I was eager and already had some experience working and he gave me the chance. Now if you're the kid of someone in the business, you might get your foot in the door, but if you're not pulling your weight or doing a good job, you'll be out of there. fter working a few more years, I had just had my second daughter, when Frank Warner (supervising sound editor on Rocky) asked me to come work for him as an assistant on Close Encounters of the Third Kind. I was thrilled but I literally had just had my baby two months before. I had to turn it down. A few months later, an opportunity came to work on New York, New York. It would be my first ADR supervising job where I would be ADRing Liza Minnelli and Robert DeNiro! I said yes and worked it out with my husband for him to bring my daughter to MGM (Sony) so I could nurse her at lunchtime. I was 24. It was a crazy time. George Lucas was working on Star Wars: Episode IV on the night shift at Goldwyn Studios (aka Warner Hollywood, aka The Lot) and George's wife, Marcia Lucas, was the editor on New York, New York and they would cross paths at the "changing of the guard" when the shifts changed! Robert DeNiro had just had a baby (with actress Dianne Abbott) in November of 1976 and my daughter was born in October of 1976. When Ron, my husband, would bring our daughter to the ADR stage, he and DeNiro discussed being fathers. Dianne is in New York, New York as a lounge singer and she was way pregnant at the time, and I remember DeNiro telling me that the costumer made a dress in black- and-white that totally hides that she's eight months pregnant. After that, I looked carefully at the film and sure enough, you could barely tell. Years later, in 2001, when I worked with DeNiro again on a film called Fifteen Minutes, we were on the ADR stage, and I asked him if he remembered Ron bringing our daughter to the ADR stage when our babies were only a few months old. He said he did and we laughed about how old they became, which of course, made us a lot older too! hen I was about to ADR Liza Minnelli, I was a bit intimidated. So, I tried to level the playing field with her by mentioning that "Isn't it great that we both work with our moms!" She didn't seem too interested and then handed me $5 and told me to go buy her some beer. I said, "I am the ADR supervisor and I can't just leave to go do that." She thought I was a PA or something. She had a giant cloth bag that she carried everywhere with her and in it was shampoo, and a hair dryer and a bottle of something alcoholic. When I went into the bathroom, she was washing her hair in the sink! I heard she washed her hair several times a day. Working with her was challenging to say the least. She and Marty (Scorsese) would leave for a while and then come back all energetic, happy and chatty. I definitely felt as a woman, and as a young woman, that it was hard to be taken seriously. But I persisted and did what I knew how to do: get good sync, good levels and ensure that the words in front of and behind the ADR would be able to match in. I chimed in A W (Top): Oscar-winning sound editor Kay Rose, my mom, at her beloved Moviola, circa 1978; (bottom): my dad, Sherman Rose, was a film editor and B movie director (Target Earth, 1954). I was about 8 years old here.