Issue link: https://digital.copcomm.com/i/1545202
that, there were a series of other movies he was making that I was trying to get on, but schedule didn't allow it. And then finally, when he told me he was making F1, I was like, I'm going to clear my schedule for this because I'm a big fan. I've been a fan for a long time and Joe and I, like I said, we go way back. Alan Meyerson CAS: I've been working with Hans [Zimmer, composer] for many, many years, about 33 years. And usually when it comes to these larger films, Hans reaches out to me to do them. Dennis Leonard: Liz [Marston, Foley mixer] had another commitment, and I was recording Foley and moved into this room. She left this Foley studio and I moved in. And I also became really good friends with Heikki [Kossi], one of the Foley artists, and he really wanted me to be down here. That's how it came about. Can you share some unexpected challenges you encountered working on the film and how you overcame them? GJ: During pre-production, I had a double fracture (tib/fib) of my lower right leg playing football (sorry, soccer!) with the mechanics and film crew 10 days before principal photography. Later that evening in the hospital, I was thinking I would 100% get fired. (You can't have a sound mixer with a broken leg.) Long story short, I had the leg pinned and the producers kept me on the project. I missed the opening race—thanks Al MacFeely for covering me! I went back to work two weeks later on crutches. The actors' strike then took place, which slightly hindered the production but gave me some valuable recovery time. EM: There's always challenges to every project. Like getting the right shoe sound. The production had sent us over a few props. They sent us some of the racing shoes, a suit, and a helmet. It was fun but it was challenging primarily because it was a lot of cues to get through in a quick period of time. We're not covering just the normal Foley, we're covering a lot of stuff for the cars and those pit stop sequences that are so fast. It was a lot to get through. We work on a lot of action films, but a racing film was a pretty unique experience for me. Getting carbon fiber sounds. We had to source that stuff, source the right tires, and source the specific buttons they use in those cars. MM: Brad [Pitt] would come in with his helmet, and those things are tight as can be. So, I took a COS-11 lavaliere mic, put it inside the helmet where the mouthpiece would be and taped it down. I also had put a cue in the headphones for him, because you can't hear anything when you're wearing the helmet. The director's in the same room, so we had a talkback button for him and Gwen. It was funny, at the very beginning, because I brought the preamp and the transmitter all the way down and I'm still getting a little bit distortion. I was like, let me play this back for you. And I play it back and they're like, "That's perfect. That's exactly what I want it to sound like." I was like, okay. I'm anal L-R: Elizabeth Marston, Michael Miller CAS, Juan Peralta, Gary A. Rizzo CAS, and Gareth John