Issue link: https://digital.copcomm.com/i/681807
31 Q2 2016 / CINEMONTAGE numerous assistants, points out that she encouraged Hallihan to learn not only her process and aesthetic but those of the show's other editors. "I wish I had had ten people mentoring me when I came up," she says. "One of the things I believe is that you learn the most by mentoring with a lot of editors." THE MENTORING PROCESS At Danetracks, the unpaid interns observe a wide range of experiences, from Foley sessions to — if the client is willing — ADR and recording sessions. Peirson had the fortune of beginning to work with Davis on The Matrix, and quickly discovered that what he learned in school "isn't even close to how it's really done," he says, adding, "The internship exposed me to the methodology and has shaped how I work. For example, I try to record as much as I can. In school, the technology and how-to had been worked out. But in the internship it was the why and with what material; the art of the whole process. Because Dane talked about his process, I started to understand his thinking and why he went in a particular artistic direction. Being exposed to that on a constant basis was exciting, important and a great time." For Davis, the joys of mentoring are multi-faceted. "I get really energized having these young people around," he says. "Also, in terms of our finding people who had the gifts to be part of our crew, the internship program was essential. They worked their way up and were the people I wanted; it's not completely altruistic." He also recalls the first show he supervised, which was mixed at the old Lionsgate Studios. "There were a couple of experienced mixers, and they were sweet, kind and generous, and helped us to understand what we were doing was wrong, and how to lay things out," he explains. "I'm eternally grateful to this day." Churgin, who is currently working on Pete's Dragon, worked with Littleton on two feature films, Vibes and The Accidental Tourist, and says the mentoring process began with the atmosphere in the cutting room. "The environment Carol creates in the room makes for an inclusive experience where I was always learning," says Churgin, who notes she also learned from her experiences with editor Freeman Davis, "who was very instructive and generous; you really feel like you're part of a group effort." She says that the assistants used to have the radio playing, "but I found I stopped listening to my radio because I wanted to listen to the rhythm of what Carol was working on." What Churgin has taken forward Alan Robert Murray, left, and John Reitz. Photo by Christopher Fragapane