noah timan sound mixer interview
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7/30/2019 Noah Timan Sound Mixer Interview
1/16
14/08/09 05:25 p.m.FILMSOUND DAILY!
Pgina 1 de 16http://filmsounddaily.com/
S A T U RD A Y , 4 J U L Y 2 0 0 9
'Noah Timan' Sound Mixer Interview.
Noah Timan is a New York based Sound Mixer who's credits
include 'Awake', 'Capote' and the upcoming Wes Andersonfilm 'Fantastic Mr. Fox'. What separates Noah from many
others is his incredible passion for what he does and for the
process of filmmaking. The interview is not a light read, it's
an in depth look at the life of a working sound mixer. If your
interest in filmmaking is anything like mine you're going to
find this fascinating and insightful.
You went to NYU - how was that experience for you?
I went to NYU for close to four years, but it got a little complicatedbecause I started working on films professionally while I was there.
NYU was a pleasant experience. It is not really a trade school per se
where you go to specifically learn one particular craft -- it's more about
getting students to understand the medium as a whole. It was a great
opportunity to meet people. I still regularly work with classmates and
people I knew then, and am thankful to see them out on sets when I
have the luxury.
At the time I was there, a lot of the professors I studied under were
very educated about cinema but didn't really have a lot of direct on-set
career film experience. That became somewhat frustrating. I did get to
study with some wonderful sound professors -- Barbara Malmet, who
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7/30/2019 Noah Timan Sound Mixer Interview
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Pgina 2 de 16http://filmsounddaily.com/
had a career in radio and was able to teach me many sound and
recording fundamentals, and then Chat Gunter, who had a longer
career as a film production mixer and was able to really teach the
nuances of the craft from experience. I ended up studying with Chat
for about two years -- both at production mixing and sound design --
and even working as his assistant on a couple odd gigs. That was the
most obvious and beneficial link between my NYU experience and
what I have ended up doing with my life so far.
The other really essential thing I did at NYU was to make my own
short film. I never finished it, but it was a key educational experience.
I was wearing a lot of different hats during that process, and that
taught me a lot of fundamental filmmaking lessons. These helped
contribute to an overall understanding and appreciation of the issues
that producers, production managers, and other departments need to
address that may affect the course of a shoot day or schedule. I find
these things can be quite baffling and frustrating on the surface to
those of us who work on the crew, so being able to have someunderstanding and empathy about why certain decisions are made
makes the whole process easier.
After two years - you left to go and work in films. Was that a
tough decision?
I actually didn't leave -- I just started working while I was in school.
During my second year in college, I spent a semester studying
production mixing with Chat and got bitten by the sound bug, and
went on to mix my first feature (a no-budget film that was eventuallywas released with Oliver Stone's support, albeit composed almost
entirely of subsequent reshoots I wasn't involved in, called
"Gravesend"). After that, I took a long leave of absence to go to work
at my father's orphanage there and travel.
After I returned to New York,
a friend called me to replace him
as sound mixer on a feature
called "Vertical City". That
led to my first paying job (barely
-- I think $100 per week was the
stipend), a film called "One
Take" that we shot later that summer/fall in upstate New York. One
thing continued to lead to the next, and after a while people were
calling me on a somewhat steady basis.
Also, friends in film school knew I was working as a sound mixer, and
would often corral me into mixing or booming their student films. I
did as many of those shoots as I could. In film school most everybody
has ambitions to be a director, so those of us who were pursuing other
crafts were in high demand. It was a great opportunity to practice and
learn.
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At this time, I also had enrolled in a full semester of classes, was trying
to produce my own student film, was working part time at a public
relations office for magazines for income, and was trying to squeeze in
as many paying and non-paying shoots as I could amongst that, so I
had quite a full plate on my hands. There came a point where I was
failing some of my regular liberal arts-degree requirement classes
because I was so busy with everything else going on. At this point Chat
kind of came to the rescue and allowed me to secure college credit
doing "independent study" with him, which allowed me to go out and
work and shoot -- there was regular sound work coming in at that
point -- and we would meet once a week and look at dailies from the
various projects I was working on. We would discuss and he would
critique, and his insight was always immensely helpful. I think, despite
his title and call to duty as a college professor and adviser, he
understood that I was going to learn more out in the field than in the
classroom, if it had to be one or the other.
Could you explain a bit about how you get involved with a
new project -- where does the work start for you?
When the phone rings from an interested client, I first discuss the size,
scope, budget, and ambition of the project. I hope to feel confident
that the resources available for the project as a whole are sufficient to
achieve its ambition somewhat gracefully. I also need to ensure that I
am going to be able to be able to get the kind of quality recordings
expected of me with the alloted budget and crew size available,
without driving myself and my team completely crazy in the process.
If it seems vaguely feasible, I ask that they send a script over, which I
review. On the first pass, I read the script as I might a novel. I
temporarily put aside technical or practical considerations, and just
read it as an audience member to see if I can personally connect with
the material. If I like it, and the production wants to meet with me, I
do another pass on the script, this time focusing on the technical
requirements and aesthetic sound choices, and red-flag all of the
potentially problematic issues. I outline these so that we can discuss
them at the meeting.
If I am hired, the next step is finding crew members. I've been blessed
with having very loyal boom operators and utility technicians for much
of my career who join me for each new adventure. However, there are
periods where things are slow or I chase after other pursuits, and in
such times my crew members sometimes need to take other jobs with
other mixers. If my regular folks aren't available, it can be a battle to
find the right people in their stead, because the pool of really high
quality boom operators and utility sound technicians in New York
(where I work primarily) can be shallow, and the handful of really
exceptional people are always in high demand.
If in doubt, ask Aaron Sorkin.
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Crewing up is one of the most critical aspects to preparation for the
shoot. Sound, just as filmmaking as a whole, is a team sport. If the
operator can't put the microphone in the right place on a consistent
basis, or the utility person can't quickly and effectively put out the
fires that always break out on set, the sound is probably going to be
bad regardless of what I do behind the cart. In addition, my crew is
going to represent our department as a whole. I need to make sure
that they can get along with me, with each other, and with the rest of
the shooting crew. I need to ensure that they can communicate
effectively to the director, camera operators, and everyone else whom I
am sometimes going to be too physically far away from on set to
address myself. We need to effectively communicate as a team as we
break down our strategy and plan for each shot, and be able to quickly
and effectively adjust when the shot inevitably changes, so that the
mix can be executed correctly and I can come away with the best track
possible.
The next step revolves around technical preparation. This meansworkflow establishment and discussions with everyone else in the
chain -- telecine, editorial, the studio, and production as a whole. This
may mean complicated modifications to my sound cart and equipment
layout, the negotiation of hiring additional crew members on certain
days, and may also mean special
purchases or construction of equipment that will help us solve certain
problems or achieve certain feats specific to the needs of the film.
Then comes location scouting. This is also very critical because often
location managers and directors will often choose a location that,while visually wonderful, is a terrible place to record. If I can't solve
things myself, I have to get in there and try very, very hard to use
negotiation and diplomacy and see if we can find solutions to
problems that will make it work. If the issues prove unresolvable, it
falls on me to ensure that directors, producers, and any post
production staff that may be on board at that point are aware and
alerted that the production track has been decided to be sacrificed. I
make sure everyone is aware of the effort and expense that will be
needed to repair the problems later. The worst possible situation for
me is having a director or producer find out about a problem after the
fact and feel frustrated because they would have preferred to correct
the situation on set, or for me to feel that something would have been
corrected but wasn't. That's the fate I have to fight to avoid.
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Sometimes the issues are less dramatic, but allowing us to see the
location beforehand will allow us to properly plan on approaches and
anticipate problems, and perhaps alert other departments in advance
of help I may need from them. There are also practical considerations,
such as how we are physically going to get the equipment into places,
where we can park the noisy generators so they don't interfere with
the recordings, whether the airwaves in a location are free for the
wireless mics and headsets that we have to use, whether the location
managers will be able to control intrinsic noise problems, and so forth.
Finally, there are a series of production meetings, discussions on
problem solving with other departments, the ordering and packing of
equipment and supplies, and finally, the loading of the equipment
onto the trucks. Then, at long last, we're off. It's always a relief to bedone with pre-production, which I often find to be one of the most
taxing, stressful, and difficult stages of the process.
Do you ever find times when the director chooses something
visual, or a performance, over the importance of the sound
recording. And how do you deal with that? It must be
frustrating, I'd imagine. Can you think of any instances
where your work has been compromised against your better
udgement?
Sure. The most common example is the one Ive already mentioned,
where a location is chosen that looks acceptable but is impossible to
record in. In some instances there isnt a better option elsewhere a
scene at the base of a large waterfall, for example. Where it gets
frustrating is when we shoot scenes in plain bars, restaurants, houses,
apartments, or offices that sound terrible and dont need to.
Sometimes these are chosen a matter of convenience to the schedule,
to avoid having to move to another location in the middle of the day.
Sometimes these are a sacrifice to everybody, not just me. It isnt that
the locations people are being necessarily malicious or completely
absent-minded, but it does follow that when everyone from the
director on down is forced to compromise, the priority of the
production track tends to fall a ways down the priority ladder.
There are many, many different ways to die on set, and as basically
every other department on set besides ours is working toward a visual
element, they could all be construed as compromises for such purpose.
A noisy costume; directors, A.D.s, or stunt coordinators talking over
the dialogue; a generator truck parked too close to set; fans or smoke
machines that arent silenced; noisy non-sync cameras being used in
sync applications (or, in this day and age, HD video cameras with fivefans on the camera body and two on the battery); actors overlapping
their off-camera dialogue onto the on-camera actors in a way that will
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make editing impossible; crew members working and talking while
shooting is taking place; so on and so forth. Sometimes a huge part of
my (and especially my utility persons) job becomes less that of
technician and creative contributor and more that of set policeman.
Thats unfortunate, but at the end of the day our job is to deliver good
tracks without a million preventable noises in them.
Some of the most frustrating instances are when the process of the
filmmaking itself creates the sound problem. A good example I can
recall is from the set of a small indie film called Luminous Motion
that was shot about twelve years ago. In the original script, the main
character (a depressed and mentally unstable 13 year old boy) returns
to his childhood home where his life unravelled in tragedy. When he
arrives to finally confront his past and his memories, he finds that
another family has moved into the house and remodeled it and there is
no trace of what happened before. The camera turns on the boy
bursting into tears and the film ends. When we got around to shooting
it, the director of photography wanted to see a curtain blowing aroundin the background of the boys close-up. This could only be
accomplished by a noisy fan that was going to render the performance
of the boy crying unusable. There are times where I may elect or agree
to sacrifice the track for the greater good. However, here I felt like
losing this key performance moment, so central to the film -- only to
gain the visual of a curtain blowing (out of focus in a small window in
the back corner of the frame) -- was a terrible sacrifice, so this was one
of those issues I went to battle for (and won).
There is often a very dismissive attitude on set toward the productiontrack. Other crew members, like you yourself have suggested at one
point, have often bought into this idea that a high percentage of the
film is going to get looped, no matter what. So they say, Well, why I
am going to make sacrifices of my own work for the sound department
when their tracks are not going to end up getting used anyway? Or
they say, less thoughtfully (and based upon zero personal experience
in the realm) this can be fixed in post. Sometimes, in the latter case,
they are right but they are often completely unaware of how much
work is involved by the post team to accomplish that, as opposed to far
simpler solutions that often exist on set if there is some small
semblum of patience and cooperation. Folks can be oblivious to the
limited resources of post production. Time in post spent fixing
production track problems will inevitably be time lost making the film
sound great in other ways. As with all aspects of filmmaking, there is
whats genuinely possible in a theoretical ideal situation, and then
theres whats actually going to happen given the limitations and
restrictions of the reality. Having other members of the filmmaking
team insist that the post-production staff will get to indulge in the
former over the latter, while the entire time the latters cold realities
are driving those same people crazy on that exact same production
is dangerous, lazy, uneducated business, in my personal opinion.
By the time the final mix has been completed; after all the
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foley work and sound design - do the films sound like what
you recorded, or something completely different?
Every project is very different. On lower budget projects, there is often
very little money set aside for post production, and some of that tends
to get usurped in the overages that occur during principal
photography and picture editorial. So on very small shows, sometimes
there isn't resource for post to do much beyond gentle massaging ofthe production track and the addition of some basic music and effects.
On bigger productions, there generally -- but not always -- is more
money and more time to fine-tune things. The quality, depth, and
experience of the post production staff and facilities also tends to vary
greatly with how much money is allotted (and/or left over) by the time
the project gets to post sound.
How much post work is needed also depends on the circumstances of
production -- a big action movie with Ritter fans and constant
screamed stunt cues is going to need a lot more ADR than a small,
dialogue-driven project where characters sit around a room and talk.
So I guess the short answer is that some films sound exactly like what
you recorded, some films sound like what you recorded but a bit
better, some like what you recorded but a bit worse, and some (very
few) nothing at all like what you recorded.
And when they sound nothing like what you recorded - does
it bother you? Or do you just take it as part of the job?
Well, I suppose Ive been fortunate in my career in that Ive never been
surprised by having a huge portion of a project replaced unexpectedly.Its certainly happened with individual scenes or shots here or there,
but I think thats thankfully been the extent of it. I expect its the same
for most mixers - generally, if somethings not going to work, you
know it while youre shooting. And if somethings going terrible on the
set say, a jackhammer two blocks away is destroying all of the
exterior dialogue you probably HOPE some excellent ADR is going
to replace all that noisy track.
On the film Winter Passing, the production spent months lucklessly
searching for a location that featured a distinctive house, a separate
wood cabin outside, and a large rolling property that fit the directors
vision. Most of the film was set on this property, and the production
wanted all three real location elements to be in the same place, so they
could change the schedule freely without having to deal with moving
the company each time. Once they finally found something the
director, producers, and DP liked, they contracted it right away. Then
they showed it to us. I flipped out when I realized it was right next to a
very loud interstate highway. The problem was intensified by the fact
that in the script, the location was supposed to be very rural and
pastoral there was even dialogue with the characters saying things
like How quiet and peaceful it is here. After they had already paid
many thousands for the location, and were about a week away from
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shooting, they couldnt ditch it and go back to the drawing board.
However, I think the producers, for whatever reason, honestly didnt
realize just how bad that was going to be. Once made aware, they were
very concerned with limiting the damage to something reasonable. To
their credit, others might have just shrugged and said, Fuck it. Well
loop it all.
To that end, they budgeted for test recordings so they could get an
idea of what they were dealing with beforehand. These eventually led
to clearance for labor and materials to properly soundproof the barn,
which was done with considerable effort (a plexiglass and vinyl
construction was set up enclosing the cabin, which otherwise wouldnt
have offered much in the way of shelter from the noise). Ed Harris
character never really leaves the cabin, so we got all his tracks cleanly
in this modified space, and they avoided having to do any ADR with
him. For the other exterior locations, there wasnt really anything we
could do there were no enclosures and we completely exposed to the
interstate highway. So a fair portion of those scenes was looped, butwe all had a pretty good idea that would be the case when we were
shooting.
How hands on are the Directors with what you do? I can't,
for example, imagine Nora Ephron having a lot of input in
your sound work.
I only worked with Nora for a couple of
days when we were doing the New York
unit of "Bewitched", but I remember her as
always being very concerned with the sound
and how deeply location-based noise
problems were going to affect the track.
She, like many good directors, understands
that if the sound is bad, there is more at
stake than the financial and time
considerations that are going to affect post
production. She knows that the
performances she is personally working so hard to extract from her
actors on set are going to be lost, and that those performances many
not come back in the same way in the ADR booth. At the end of the
day, most people go to the movies to see actors perform, and those
performances tend to drive most movies. So if the recording of those
performances is lost, it isn't just a technical and financial concern that
plagues the production -- it is an aesthetic concern that may plague
the quality of the film and its ability to resonate with audiences. Every
director is different, and so are their attitudes about their production
sound. Some will always insist on doing another take if there is a
sound problem. Others will say, "do the best you can, and don't bother
me about it, and we'll figure out whatever you can't get in post." Some
will get very involved and personally address sound issues with theactors or other crew members whose execution of their tasks are
causing the sound to suffer. Those might be dolly grips, costumers,
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property people, electricians, directors of photography, set dressers, or
any number of others. Some directors will take the time and make the
sacrifice to change the shot if there isn't a way to get usable sound, or
at least do a variation take without the offending factor. Other
directors don't even bother to wear headsets while the take is going on,
and might look at me as if I had three heads if I suggest we go again
because there was a sound problem. It always depends on the
individual in question.
On average, how much of a films dialogue tends to be ADR?
You hear stories sometimes of how it's like 90% - I'd hate to
think that's true.
There is no such average that has any effective real-world indication.
Every project is very different, and its very misleading to the public
(and, as Ive noted, even to some film professionals) to say things like
X percentage of all movies are looped. A few movies (of all budgets)
have 0% ADR, a few have 100%, and all the others have wildly
different percentages in between. Budget, time, locations, director
choices, mixer talent, re-recording, performance issues, edit decisions,
and so many more unique factors specific to a single project are going
to indicate how much looping is done on any given movie.
I think a good film for us to look at in more detail is 'Awake' -
because it's a movie most people will recognize, and I think
the sound work on it was really interesting. In most of the
scenes, the dialogue we see is not based on what we see onscreen. There's lots of dreams and flashbacks and all sorts
going on - was it like this at the script stage? And did it make
things more complex to plan?
The original script for "Awake" was considerably longer and more
complex than the cut that was eventually released. It was always based
upon flashbacks and time jumps, but those issues didn't necessarily
affect the process of recording the production track. From my end, I
still had to approach the dialogue recording straight-forwardly, even
though I knew it would be manipulated later.
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You can get an idea of this in the deleted scene selection on the DVD --
particularly one where Jessica's character introduces Hayden's
character to the outside and inside of a restaurant in Brooklyn. Those
scenes feature bits of what eventually ended up in the flashback
montages and contain just the raw production tracks as we recorded
them on set, before the wizards at C5 and the re-recording mixer
processed them as part of the eventual whole.
So much of Hayden's character's dialogue was scripted as voice over,
because once he is anesthetised he obviously isn't actually speaking.
The production wisely scheduled a session before shooting where all of
Hayden's scripted voice-over dialogue was recorded. This was to
provide the editors with a track to cut against. I knew the much of the
voice over might be replaced later with ADR (voice over often is, not
for technical reasons butfor timing reasons that relate to the edit), but
it would have been impossible for the picture editor to compose the
film without this track. If I remember correctly, I also recorded Denis
O'Leary in pre-production --he played a voice over-heavy charactercalled "The Narrarator" in the original script that ended up getting cut.
Terrence Howard's character's VO was not part of the original script,
and that was recorded entirely in post-production.
Just after Clay (Hayden Christensen) is Anaesthetised - the
scenes that follow are really intense and in some ways, quite
scary. There is a lot going on with the sound.. there's
dialogue we can hear clearly, dialogue that is quieter and
mumbled -- there's the scraping noises of utensils - and many
other things going on. Could you tell us a little bit about yourwork on these scenes; because it's really fascinating how it
all came together.
Most of that overall effect was acheived by the post team -- that kind
of effects processing is in their domain, and not normally carried out
on set.To assist them, we did do a fair amount of effects recording for
the operation room scenes. It happened in two stages. We recorded a
lot of sound effects of the medical machines and tools during
production. The prop machines and instruments were all real rented
medical tools, as the budget did not allow for quiet fakes to be
constructed and implemented. These recordings were a challenge to
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orchestrate, because all of these big, heavy, immovable, hard-to-
procure medical machines were located right on the set. We couldn't
simply take them onto another stage to record them in between setups
while the grip and electric crew were setting up the lighting for another
shot (and making a ruckus doing so). We were always horrifically
behind schedule on "Awake", despite consistently very, very long shoot
days-- the scope of that project was much bigger than the budget we
actually had to work with -- and there was really no way for the A.D.'s
to grant us time to get the rest of the crew to stop working and leave
the set for half an hour while we recorded wild track of the machines.
The way we eventually worked it out was doing the recordings over a
couple of lunch breaks -- we just stayed behind and recorded the
various effects and sounds that each unique machine and tool made. A
prop person also kindly gave up his lunch break and stayed to
manipulate the machines so I could record them. My production
manager on that film, Robin Sweet, was wonderful in understanding
the importance of getting those tracks and helping us find production-friendly solutions to recording them so these things didn't get brushed
under the rug.
About two months after we wrapped principal photography, I went to
the hospital where one of our on-set medical advisers was performing
a real heart transplant operation, and I recorded about an hour of
further sound effects while the operation was taking place. Some or all
of these recorded elements may have made it into the eventual sound
design in the scenes you speak of.
Good sound-mixing, like Make-Up, is best when unnoticedright?
Hmmm. I think that in general, the audience only consciously notices
sound when it's very bad. That said, sound tends to affect the general
audience in an extremely subconscious fashion. If the recording has a
spellbinding effect on the ear, the audience may not notice it on an
obviously apparent level, but may find themselves more drawn into the
story, characters, and picture than they might otherwise. Watching a
film is a sensory event, and while the obvious primary sense that
interacts with a film is vision, the way that the sound affects the
experience of viewing the picture, and the way that it affects how the
audience responds to the actor's performance, is a very essential part
of cinema and the visceral response one has to the actors and dialogue
(and thus, the story).
My friend Tom Richmond, a very talented director of photography,
once told me about his moment of discovering how detailed sound was
going to complement what he does visually. In dailies of one of his
projects, he saw two takes of a dynamic action scene he had shot with
actors speaking as they ran through a trench. In one, the sound
department had gotten their way, removed a conflicting noiseproblem, and had been able to record the scenewith more sensitive
overhead boom microphones. Tom said that the take as a whole had a
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lot of dynamics and felt emotionally affecting and stirring. In the
second take, the sound mixer apparently lost whatever battle he was
fighting, and the noise issue was once again present. This forced that
mixer into using less sensitive and less rich-sounding wireless
lavaliers in the actors' clothing to overcome the noise problem. In that
take, he said, even though the actors' dialogue could be heard clearly,
the shot felt corny and lacking of gravity.
Are you able to relax when you go to see a movie in the
cinema?
Yes, I can always relax. In the case of seeing a film that I have mixed
for the first time, I might be a bit nervy and out of the general
audience's perspective. In that scenario, I probably revisit the scenes
and locations that we shot, and am paying attention to how the post
team manipulated (or disposed of) my tracks. In the case of a film I
have not worked on, I tend to just slip into the picture and watch it as
anyone else does. It's not that I don't notice the track, it's just that Idon't focus so excruciatingly on it that I am barred from getting
caught up the rest of the picture.
People always ask me, "Doesn't working on movies ruin the ability to
enjoy the experience of watching a movie for you?" I always feel the
opposite. Not only does it not ruin it, but it adds all sorts of other
facets to appreciate. It's sort of a heightened movie experience -- I can
appreciate the story, characters, and events as the average audience
member does, but at the same time I can also appreciate the
cinematography, editing, soundmixing, costuming, and other aspects
of what has been achieved that the average person wouldn't really
understand without direct exposure to the process of filmmaking.
It actually works really well in the case of a poorly executed movie --
instead of just sitting there being bored and listless, I can focus instead
on the technical achievements and appreciate the individual parts and
efforts, since I know exactly how difficult it must have been to pull
something off and how rare a beautiful shot often is to accomplish. I
can appreciate the value of the parts even though those parts might
not add up to a greater sum overall. Sometimes I might go to see a
really techincally well-made film that doesn't end resonate with meemotionally from a story or performance level. While someone else
might sit there annoyed, I am able to mine the experience by enjoying
the successful execution of the craft that, while not contributing to a
great film as a whole, is a wonderful victory in itself.
What projects do you have coming up? Is there anything
particularly different or challenging you are going to be
facing with the sound?
Next Im doing some small bits
of stuff some second unitwork for an action/fantasy
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picture called The Sorcerers
Apprentice and some reshoots
for Wes Cravens horror film
25/8, which we shot the
principal photography for last
year. Big action movies are always very challenging for production
recording because the nature of what needs to be done creates so
many obstacles, and Sorcerers will doubtlessly be no different. Wes
movie was very challenging last year for a variety of reasons, and I
expect that there will be some familiar hurdles to leap on the reshoot.
After that Im most likely working on a television series, whose
challenges lie in the pacing (an hours worth of material has to be
completed in seven days).
Earlier on you mentioned that one of the first things you do
is read the script. How important is the material to you?
Its key. A movie shoot takes over ones life. The hours are very long
twelve to eighteen hour workdays, five to six days a week, plus travel
back and forth from the set (which may not be right outside ones
doorstep). One often wraps after sunrise on Saturday morning and is
required to be back on set before sunrise Monday morning, and the
weekend gets quickly consumed by sleep, laundry, and all the other
regular life chores and errands one cant do during the week.
Sometimes one is on location for months, away from significant others
and family the entire time. The environment on set is often tense and
stressful. Feeling like youre working on something meaningful and
contributing to something with potential for greatness can go a longway not only in justifying the personal hardship and sacrifices that
this way of living can bring, but also in steeling ones drive and focus
toward the picture. When one feels like one is giving up everything just
to make a piece of junk, things can get pretty unhappy in a hurry, and
unhappiness can be very contagious on set.
In short, the film is your life while youre making it. If the film sucks,
your life sucks. That said, this is what I do for a living, and Im not
often lucky enough to have the luxury to sit back and pick and choose
between multiple projects that Im really excited about. Sometimes
scripts are really well-written, but the plan for production looks to be
disastrous. Sometimes its obvious that the ambition of the project
cannot possibly be achieved with the resources available. The process
of trying to achieve it portends total misery for everyone involved.
There may be other conflicts, too. It has taken me years to accept that
the best eventual movie does not necessarily correlate with the best
day-to-day on-set experience. Sometimes it may become a choice of
one over the other -- of what you want to accomplish as a sound mixer
versus what you want your life to be for a matter of months.
Sometimes the appearances of the projects may not be obvious and
clear, and you may think you are selecting the project that yields one
of those results when it ends up yielding the other, or vice versa.
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What is your favourite movie?
Barton Fink.
Is sound mixing something you'd recommend to young
people? What particular skills and traits do you think are
essential to do what you do?.
One needs a lot of patience and diplomacy, good people skills, and an
anal-retentive fussiness and attention to detail. It isnt so much about
having great hearing as really learning to listen carefully. One needs to
have a good understanding of (and interest in) technology, a real
understanding of how the film production and post production chain
works what the goals are aesthetically as well as technically. One
needs to understand ones role in the larger picture of the film as a
whole and how to be a team player. Its critical to be able to
understand everyone elses job and needs the picture editors, the
electricians, the costumers, the property masters, the directors, the
actors, the dialogue editors, the production coordinators, the assistant
directors, the truck drivers. One needs to have quick decision-making
skills and have a fairly pragmatic attitude to problem solving. To do
anything in film production, a strong sense of humor is essential, as is
a willingness to forego sleep.
And one last thing. For me, New York is the greatest place to
shoot a film. Why is that? What is so special about it?
Well, what makes New York special is a longer answer than we
probably have room for here. New York is a very challenging, difficult
place to shoot. The weather is unpredictable and tempermental. The
traffic is awful. The roads are poor. The parking is a nightmare. Its
tremendously noisy, light is unpredictable, and there are always a
million elements out of control. Locations are small, and access to
them can be very difficult. The high rents and property values make
large, spacious, quality sound stages hard to find, and what fills in as a
substitute for them can be a miserable work environment. One can go
to Los Angeles, with its great weather, constant light, good roads,
spacious and cheaper stages, and understand very quickly why it was
once chosen as the industrys capital.
And yet many of us stay here in New York and shoot, rather than go to
Los Angeles. That says something about the allure of New York. I feel
like the appeal of Los Angeles to the public at large, beyond palm trees
and beaches, is really that the entertainment industry is there, and
entertainers live, work, and play there. That energy of celebrity and the
perception of glamour is infectious to the public, but Im not sure the
energy of the place itself is. If you took away the entertainment
industry, the movie and music stars, and the nostalgic history for
Hollywood, I am unsure if the public would continue to be as
interested in Los Angeles as they are. However, in New York, the film
industry almost feels like a side note. I feel that if you completely
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removed the entire existence of the film industry here, the city would
barely notice.
That attraction and fascination that the public has with our city
translates when you shoot a film here the infectious energy of the
city shows up on screen. Sure, you could fake New York on sound
stages in other cities and people certainly have. But its a lot like
using ADR instead of the real performance. In either case, you cancreate an acceptable product that the general audience wont be the
wiser for. But you cant fake magic.
POSTED BY THE KID IN THE FRONT ROW AT 09:40
LABELS: AWAKE , BEWITCHED , CAPOTE , CHAT GUNTER , HAMLET 2 ,
HOLLYWOOD, INTERVIEW, JESS ICA ALBA , NEW YORK , NOAH TIMAN, NY U ,
SOUND MIXER , WES ANDERSON
4 C O M M E N T S :
Sylvaine said...
Hell ... I have learnt something (if not many thing for my own project)
!
05 JULY 2009 05:28
Jamie said...
What a great interview! Lots of info and insight into not only sound
mixing but also the film industry in general. Thanks a lot :)
05 JULY 2009 16:52
Anonymous said...
Dope. That first shot of Noah was taken in the upper penninsula of
Michigan in a small town called Escanaba.. haha... That was a fun job!
Thanks for the great interview!
05 JULY 2009 22:32
Anonymous said...
I work in Post Audio, and I really wish everyone took the consideration
that you do for the next step. If someone recorded the set props for meon a film during production, I would probably die of gratefulness.
10 JULY 2009 07:39
P O S T A C O M M EN T
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