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Ron Bochar on ‘Angels in America’

In 2003, after sound editor, sound designer and re-recording mixer Ron Bochar, CAS, completed work on Mike Nichols’ miniseries Angels in America, he felt good about what he and his sound colleagues had accomplished. He felt so good, in fact, that part of him wished he could simply call it a career. […]

Columns

Beth Stiller on Los Angeles Lakers Road Telecasts

Beth Stiller is not a professional basketball player. She isn’t known for shooting from the three-point line or for scoring fast-break points. In fact, she prefers surfing to basketball. But, for about eight years in the late 1990s and 2000s, Stiller found herself on the road with the Los Angeles Lakers. […]

Columns

Gregg Barbanell on ‘Breaking Bad’

Like most Foley artists, Gregg Barbanell, MPSE, aims for his work to go undetected by audiences. After all, footsteps should sound like they are emanating from the shoes of the actor who appears on screen, not the Foley artist behind-the-scenes, right? […]

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Tommy Vicari on ‘Road to Perdition’

You might say that Tommy Vicari, CAS, is the beneficiary of good timing. A few years after director Sam Mendes and composer Thomas Newman were the toast of the film world for the Academy Award-winning American Beauty (1999), Vicari was asked to serve as scoring mixer on their follow-up film, Road to Perdition (2002). […]

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Christine Culler on ‘Minority Report’

While working at 20th Century Fox in the early 1990s, story analyst Christine Culler was assigned a steady diet of romantic comedies and children’s books. Then, in 1995, a different sort of project came across her desk: ‘Minority Report,’ a futuristic suspense film, heavy on action and low on meet-cutes. […]

Columns

Nancy Parker on ‘Kickboxer’

As a Foley artist, Nancy Parker, MPSE, is tasked with creating the sounds of major life events for characters on-screen. “I go to work and I may perform open-heart surgery, or I may saddle, bridle and ride a horse,” she says. […]