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M OT I O N P I CTU R E S O U N D E D I TO R S 51 and the Four Seasons, as well as A Taste of Honey. His work in that world earned him both gold and platinum records, including for "December 1963 (Oh, What a Night)" and "Boogie Oogie Oogie." By the mid-1970s, as the music industry began to shift, Steve made the move into film. He joined the union, got onto the availability list, and landed at Samuel Goldwyn Studios—where he would spend the better part of 15 years. That era of stage-based mixing was its own kind of training ground. You didn't chase projects; you were part of a stage and the films came to you. It demanded versatility, discipline, and consistency—and it produced some of the finest craftsmen in the business. Steve was one of them. One of his early projects, The Last Waltz (1978), was a natural bridge between his music background and his emerging film career. He would go on to mix 10 (1979), Hair (1979), and More American Graffiti (1979). Around this time, he began working with Bill Varney and Gregg Landaker, forming one of the most respected re- recording teams in the industry. "I became acquainted with Steve in approximately 1977 when Don Rogers introduced him to me at Goldwyn Studios, where I was overseeing sound transfer operations. Don instructed me to mentor Steve in the transfer department and, as he departed, jokingly told me to ensure Steve went to lunch to avoid meal penalties. Steve's puzzled reaction to this directive sparked an instant connection between us, and I appreciated his calm demeanor and distinctive hairstyle. Throughout our time working together on dub stages, we developed a seamless rapport, often spending more time together than with our spouses. Our collaboration was marked by effortless communication, never once did we have a disagreement or raised our voices. We intuitively understood each other's thoughts and reactions to various scenes. Steve's ability to make clients feel welcome and at ease on our stage was impressive, and we worked together at numerous major studios and independents in Hollywood. I will miss his humor and warm smile. RIP my dear friend." –Gregg Landaker Then came the run that would cement his place in film sound. With Varney and Landaker, he worked on Star Trek: The Motion Picture (1979), The Empire Strikes Back (1980), and Raiders of the Lost Ark (1981). These films—alongside the groundbreaking work of supervising sound editors like Ben Burtt and Richard Anderson—helped define the sound of a new era of filmmaking. Empire and Raiders both earned Steve Academy Awards, recognizing not just technical excellence, but an instinctive understanding of how sound supports story. That instinct may well have come from his musical roots. In music, you mix based on how something feels— its rhythm, its balance, its emotional impact. Steve brought that sensibility into film. His work was never about sound for its own sake. It was about shaping the audience's experience— knowing when to push, when to pull back, and when to let the moment breathe. He was often entrusted with the delicate task of balancing the brilliant scores of composers like John Williams, Jerry Goldsmith, and many others—always finding just the right place for the music within the story. He was nominated again for Dune (1984) and later received a third Academy Award for Speed (1994), which also earned him a BAFTA. He was again Oscar-nominated for Waterworld (1995), Twister (1996), and Members of the sound team during the final mix of Star Wars: The Empire Strikes Back at the Samuel Goldwyn Studios in 1980. Seated at the front (L to R) are re-recording mixers Gregg Landaker, Steve Maslow, and Bill Varney. Standing at the back is sound designer Ben Burtt. Courtesy of Skywalker Sound. ©Lucasfilm