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19 JUL-AUG 14 / CINEMONTAGE filmmakersdestination.com 818.777.1111 / 818.777.0169 / 800.892.1979 Find Us DOWNLOAD FROM APPLE APP STORE AND GOOGLE PLAY STORE Universal Studios_Post Prod & Media Services ad_Editors Guild CineMontage_12.12.13 probably was some loop group in the kitchen and the nightclub. Other than that, it was just production track and music — but the scene is full of energy and life." Another memorable sequence is the establishing shot of Bensonhurst, with Paul Sorvino on his stoop, and the scene following inside the house. Fleischman captured the covert street noises and the mystique of that anonymous-but-cowed neighborhood, which made visitors to the neighborhood really feel like outsiders. Fleischman also talks about the film's climax. "One of the favorite mix experiences of my entire career was the scene in GoodFellas that leads up to Henry's arrest," he explains. "In this sequence, he is doing a lot of things at once: preparing a dinner, picking up his nephew, buying and delivering guns to Jimmy, packing up a cocaine shipment, and trying to stay ahead of the helicopters that are always around him. It is a frantic, 18-minute sequence of dialogue, voiceover, music and sound effects, in which at every particular moment there was something important that needed to be heard in the track." As Schoonmaker boldly weaved the rapid, jump-cut images shot by cinematographer Michael Ballhaus, ASC, into a fast-paced visual nightmare, Fleischman added the finishing touch to the soundtrack, mixing the music into a psychedelic soundscape that so jarred cinema audiences of the time — already feeling as jumpy and paranoid as Henry from the visuals — that some literally fled the theatre. "The scene was scored with a multitude of never-ending musical clips from Muddy Waters, the Who, Mick Jagger and Ry Cooder, and the Rolling Stones, and each clip needed to be carefully timed and interwoven with the other elements of the track," Fleischman elaborates. "My favorite moments in that sequence were when Henry slams down the trunk of his car and Cooder's slide guitar lick from 'Memo From Turner' kicks off the insanity — and again when the Who's 'Magic Bus' scores the moment that Henry nearly rear-ends the car in front of him, with the sounds of brakes squealing and feet stomping on pedals, accompanied by Roger Daltrey and Pete Townshend singing, 'I want it, I want it, I want it, I want it…but you caaaaaaan't have it!'" Another moment that gave the mixer goosebumps was when Henry and Karen are packing up cocaine for shipment. "Henry takes a huge snort of coke, and the sound of him snorting kicks off Muddy Waters' 'Mannish Boy,'" Fleischman relates. "It was just a thrill to mix — such amazing filmmaking." f CineMontage_Jul-Aug_14-4a.indd 19 6/19/14 1:57 PM