People seem to have the impression that I sit in a big office with millions of films which I loan out to interested borrowers… My actual job involves locating stock shots or establishing shots to include in various television shows and feature productions. […]
Freelancing is certainly not for everyone. […]
Even though I grew up on black-and-white television, color became my way of life. […]
I arrived in Hollywood with no contacts––and as I observed the inner workings of the business, I felt that what I learned in college was horribly insufficient for me to succeed. So I opened myself up to any job I could get, observing everyone and everything. […]
We “cover” mostly screenplays, but also novels (some pre-publication), newspaper and magazine articles, plays — any potential source for a good story or lead character. We evaluate old movies for their potential as contemporary remakes, and foreign movies as possible American remakes. […]
I remember sitting in the theatre watching Ingmar Bergman’s Wild Strawberries and being blown away by the visual metaphors in this movie. His opening dream sequence — the clock with no hands, the coffin spilling out of the hearse — captured my imagination. […]
After my first editing exercise, I was hooked. Editing was how dreams were made! […]
Forty years in show biz. I’m so grateful for all the good times. The bad times? They just happened and I’ve stopped trying to explain them. […]
I have been a re-recording mixer for 33 years, and the idea of turning a production track into a full, complete and seamless sound track — that hopefully enhances and advances the project — still fascinates and excites me. […]
I discovered the animal called “story analyst.” These people were allowed to sit on their tuchuses all day to read. And some fool paid them to do this! […]
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