Where are you currently employed?
I work at Sound Lounge Film + Television, an audio post-production company in New York City.
Current Project?
Season Three of High Maintenance for HBO.
Describe Your Job.
On our current project, I am coordinating files between all of the video editors, the audio editors (dialogue, ADR, Foley and sound design), the ADR engineer and the re-recording mixer. We also have another engineer working on projects besides High Maintenance and I help him with files and other things he needs assistance with, such as dialogue editing and cutting backgrounds. I also help with the ADR stage, elements and scripts, and have started to get into doing some records as well.
How did you first become interested in this line of work?
I discovered audio post while in school for audio engineering. Having always loved film (and having almost zero musical talent), it seemed like a perfect fit artistically and, to be honest, a good way to make a living. I knew some people in advertising who helped steer me toward the commercial world of audio post-production.
Who gave you your first break?
I worked briefly at a studio called Burst, which mixed mostly promo spots, before I was hired at Sound Lounge about 12 years ago. I worked there as an assistant engineer until I moved over to the film and television department — and joined the union — about 18 months ago. I’ve never been more satisfied with work and feel I finally have a career and not just a job.
What was your first union job?
My first union job was as a machine room operator for Season Two of High Maintenance.
Which of your credits or projects have made you the most proud and why?
I would have to say High Maintenance. Besides it being the first union job I’ve been on so far, it’s an extremely well-done show and I think it really stands out in the somewhat crowded realm of scripted television. As an assistant, I don’t have much creative input, but every job begins and ends with the assistants. That being said, taking care of a lot of the little details and making sure everyone involved has everything they may need frees them up to concentrate on the creative side and really craft a quality finished product
What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
After having worked in commercials for so long, the biggest challenge has been adapting to the very different workflow that long-form requires. Even after being in audio post for as long as I have, there is always something new to learn or something to improve upon.
What was the most fun you’ve had at work?
It’s always a lot of fun to host a “movie night” on the stage, have a few drinks and mock an awesomely bad film, getting some co-workers to watch an insane Japanese horror flick or just a good old John Carpenter/Kurt Russell double feature.
Jobwise, what do you hope to be doing five years from now?
I hope to be doing more editing, more mixing and more ADR.
What are your outside activities, hobbies, passions?
Cooking and bread baking have always been a passion. I also enjoy hiking all over the beautiful state of New York with my wife and our dogs.
Favorite movie(s)? Why?
I’d have a hard time naming a favorite film in any particular genre, never mind an all-time favorite film. This is something that changes with age or even the seasons.
Favorite TV program(s)? Why?
I’m currently working through Game of Thrones for the second time and, if you count multiple viewings of an entire series, I’d also have to say Parks and Recreation. Breaking Bad is definitely up there, and I have to admit the wife and I have been through Gilmore Girls multiple times, as well as Fringe and Cheers. I’ve always had a love/hate relationship with The X Files and more recently, as a horror fan, I’ve also loved Ash vs Evil Dead. Of course, the list goes on and on… Too many shows, too little time.
Do you have an industry mentor?
Working on the commercial side at Sound Lounge, it would be mixer Glenn Landrum, who taught me the basics. After I started work on long-form projects and joined the union, it was sound editor Steve “Major” Giammaria who has helped me immensely in making the transition from commercials to film and television.
What advice would you offer to someone interested in pursuing your line of work?
Work hard honing your craft, and learn as much as you can from everyone with whom you work.
Was there ever a circumstance when you had to rely on the Guild for help or assistance?
Luckily, I have not yet run into any instances where I’ve really needed to take advantage of much of what the Guild has to offer in the way of help or assistance.
Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
Keep up the fantastic work!
Compiled by Edward Landler
Editor’s Note: To recommend a member (including yourself) to be featured on CineMontage.org, and the home page of the Editors Guild website, please contact edlandler@roadrunner.com.
