Issue link: https://digital.copcomm.com/i/713016
24 S U M M E R 2 0 1 6 C A S Q U A R T E R L Y They shot at the Orange Bowl in Miami as well as other south Florida locations for approximately nine weeks. Devlin's crew was Kevin Cerchiai on boom and Mike Schmidt as util- ity, with second unit mixer Mark Weber. They then moved to Dallas, and Palmer was hired to do second unit material as boom operator. Devlin explains, "It was the biggest sound crew of any show I have ever done. Phil was teriffic, he had a great personality and worked well with second unit mixer Peter Verrando. They were able to pull off everything we needed. Our friendship started to develop at that point." "It was an interesting dance between the two crews. This was also the first multitracking that I had done," Palmer added. Devlin eventually recommended Palmer as second unit mixer on several features, including Star Trek and Angels & Demons. Asked about how he felt he might have influenced Palmer as a mentor, Devlin explained, "I think he perhaps saw how I dealt with the politics of working on Any Given Sunday that was so challenging from a sound perspective, and knowing that Oliver Stone's expectations are very high, expecting the best work possible at all times. You have to fight for the track and use the technology to achieve that. "I've admired what Phil has accomplished, forging his own way as a production mixer. Phil would always be my first call for second unit, as I know he will step up and under- stand the politics of working with producers, directors, and talent. As a production sound crew, you are three people contributing 50 percent of the experience. It's been said that sound is important in the job interview and again in post, but not so much in the middle of production. That's a reality, and you have to use your professionalism at all times to protect the performances. You have to do that with a sense of humor, passion, and love of the art. We are one piece of the puzzle, and you have to see the big pic- ture," Devlin continued. Palmer agrees. "I feel like the formulation of becom- ing a sound mixer happened when I met Peter on Any Given Sunday. Peter's style and level of achievement that he required from his crew was something that was inspiring to me. I saw different approaches to sound recording that were really intriguing to me. Peter brought that forth in the way he worked," Palmer explained. "There were so many ele- ments going on in that film that there was no way to cover it with only one sound crew. A lot of the moves from boom to mixer was inspired by Peter, who continued to mentor me during the transition. He was incredibly supportive." Palmer moved to Los Angeles in 2001, and not long afterward, Devlin was looking to move from Florida to Los Angeles. Palmer noticed a sign two houses down from where he lived, called the number and discovered it was owned by his landlord. Devlin wound up renting it, con- tinuing a friendship that would grow for years. "We talked shop a lot, and still do. In fact, we have to remind ourselves to talk about other things. We have grown to have styles that are similar, and we cover for each other with no learning curve. Most of what he has impressed on me is how important it is to develop relationships on the set, and how to conduct yourself with the director, the DP, and the actors. That's a big part of being a production sound mixer," Palmer explained. "I think I would use the word 'reserved' to describe Peter on the set. He wants to fix things on the set, but he is reserved in the way he approaches discussions with other crew members and cast. He is always careful and tactful. He is a 'big picture' person in that he is good at negotiating what is needed. Most of what I learned is how to navigate the difficult situations on set, and Peter has worked in some of the most difficult environments. I call on him a lot to ask how he would deal with a situation," Palmer continued. "So much of it is always having a backup plan, so that if you cannot make it absolutely perfect for sound, you have a way of making things work as best as possible under the given conditions. For example, I was working on a film in a very cramped location, and you would not imagine them being able to fit three cameras into this tiny space, but they did anyway, and at the last moment, shooting wide and two close-ups at the same time. You have to have a Plan B so that you do not hold up production even when there is a last- minute change," Palmer explained. "Peter has been so gracious to me and selfless on many occa- sions to offer up opportunities because he thought I could handle them. There is a lot expected of you," Palmer added. Being from Dallas, Palmer was invited to work on Walker, Texas Ranger, which was a huge production, usually with two sound crews working. Wisely, he had spent the previous years investing in gear so that he would not have to buy an entire package all at once for his first mixing gig. Don Broughton needed someone to cover him as boom op on the show and asked Palmer. While on set, mixer Darrell Henke asked for a recommendation of second mixer, and Palmer quickly responded, 'I'll do it!!!' " Being from Dallas, Palmer was invited " Being from Dallas, Palmer was invited " Palmer quickly responded, 'I'll do it!!!' " Palmer quickly responded, 'I'll do it!!!'