For each day in the month of February, the African American Steering Committee will be highlighting Local 700’s African American members, both past and present, and their accomplishments. We look forward to showing the contributions and influences African Americans have had on the industry.
Name: Pam DeMetruis-Thomas
What’s your job? Sound Editor for feature films and episodic television
List the credits you’re most proud of. I love my craft and take pride in small sonic triumphs on every project. It’s an honor to fret over, choose, and concoct sonic textures that will always be there. Though big budget projects are wonderful jobs, my proudest moments are on lower budget scrappier productions with passionate Directors. “Passing,” “Time Out of Mind,” “Songcatcher,” “Floating,” “Just Another Girl on the IRT,” to name a few.
What are you working on right now? I decided to try something different for the pandemic and have taken on a documentary film project as Picture Editor.
Who and what are your influences and/or mentors? I’m able to work as a Union Sound Editor because Black and Women craftspeople came before me and paved the way.
A constant student of my craft, influence is everywhere! 2 art installations stay with me: JR’s “The Chronicles of New York” (which was at the Brooklyn Museum just before lockdown) and Janet Cardiff’s “The 40 Part Motet” are powerful and innovative uses of sound, outside my normal experience.
To shout-out a few mentors I’ll start with Vince the transfer expeditor at Magno who taught me how to communicate effectively with sound facilities.
To shout-out a few mentors I’ll start with Vince the transfer expeditor at Magno who taught me how to communicate effectively with sound facilities.
Richard Schmiechen, the first Picture Editor I assisted.
Dan Sable who kindly talked me thru my first big Sound Editing job, George Romero’s “Creepshow.” I had boomed the shoot and talked my way into Supervising the Sound Edit. ( I hadn’t yet worked post sound on a full feature and knew I was in over my head.) Dan was very generous with his time and hooked me up to visit his foley walker on the original Kojak series. I couldn’t have done that job without Dan to consult!
Assisting Chic Ciccolini for several years I learned to work professionally in Sound Editorial and had a lot of fun.
Editing Sound Effects on Stan Bochner’s jobs were the most collaborative.
What are your black history month memories and any cultural or historical impacts on your life? My dad was a Songwriter who grew up during the Harlem Renaissance. Last year I got to work on Rebecca Hall’s film “Passing.” It felt good to work hard on a project so close to my personal roots.
I love attending the American Black Film Festivals ABFF when possible.
Working with and hearing industry stories about remarkable craftspeople doing great work while standing strong in the face of strange and senseless obstacles. I think of their strength when feeling dissed for being too “urban”
What’s the best piece of advice you’ve been given? “No” often means “not now”. It’s okay to try again down the line.
What’s your favorite (Black) television/movie moment? I’m kicking myself for not having this at my fingertips so I’ll name a fun recent show in general – “Bridgerton.”
What’s your professional mantra? Have a plan to complete the entire project before focusing on the fun bits
What’s the last show/movie that left you speechless? I have to answer this differently. A casual conversation with an older (White) friend left me speechless. Normally empathetic she had praised police for destroying 50 dirt-bikes in the Bronx last summer. I was horrified thinking: destroying property? Were any of the bikes used for work? I wanted to know more about the biker groups my friend had presumed to be thugs. The documentary “12 O’clock Boys” gave me a voice for any future conversations on the subject. It also led me to the doc series “Warriors of Liberty City” which I’m just happy to see.
