Where are you currently employed?
I have my own company called Kent Road Sound Design. I’m also a sound editor at NBC Universal, and I freelance with Transported Audio.
Current projects?
I’m supervising and mixing two independent features: “Horntak” and “Informal Crooks.” Also, I’m editing sound effects for “The Irrational,” a procedural drama on NBC.
Describe your job.
On features, I wear many hats, including supervising, editing dialogue and ADR, and working as a re-recording mixer.
For my current television project, I’m enjoying the opportunity to work again with one of my mentors, Jeff Kaplan, creating ambiences and doing sound effects editing for his various NBC drama projects.
How did you first become interested in this line of work?
I was exposed to audio technology at the radio station at Emory University in Atlanta in the 1990s. Around that same time, I attended the SXSW music conference before it was a film festival. They had several panels on independent film. I heard Richard Linklater speak about filmmaking, and I caught the moviemaking bug.
Who gave you your first break?
Thomas Patrick Smith, First Assistant Director, hired me as the sound intern on the set of “Kalifornia” (starring Brad Pitt, David Duchovny, and Juliette Lewis). I had the incredible opportunity to shadow and learn from award-winning sound mixer Juan Antonio Garcia.
What was your first union job?
I was a Y-16 at Westwind Media where I was a transfer operator and mix tech.
What credits or projects are you proudest of and why?
One of my very first supervising and mixing gigs was for the Academy Award-nominated documentary, “The Garden.” I’m also very proud of my sound design on the seminal horror films “Sinister,” “It,” and “The Black Phone.” But I’m probably proudest of my sound editing and re-recording work on the DreamWorks Animation features “Trolls World Tour” and “Trolls Band Together.” These two films gave me an opportunity to work on projects that have meaningful stories and rely heavily on great sound design and music. I’m happy to say that I’ve been able to work on many projects in which sound has a central role in the cinematic storytelling.
What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
My goal on every film is to create the best-sounding tracks that elevate the storytelling and support the director’s vision. Each project is unique and can present different challenges, anything from filmmakers who are stressed and fatigued to difficult technical hurdles. I always try to produce my best work and leave frustrations at the door.
What was the most fun you’ve had at work?
I love recording everything from group ADR to custom sound effects in the field. Some of my most creative experiences have been on horror and animated projects on which I collaborated with loop group actors and principal actors like Bill Skarsgård, Frank Welker, Michael McKean, and Fred Tatasciore. It’s thrilling to improvise and experiment with different sounds and to discover something terrifying, hilarious, and unexpected.
Jobwise, what do you hope to be doing five years from now?
I hope to be supervising or mixing more shows that I feel are artistic and entertaining. I want people to continue enjoying cinema in all its forms.
What are your outside activities, hobbies, passions?
I enjoy spending time with my family, traveling, seeing live music, and playing with synths and drum machines.
Favorite movie(s)? Why?
Some of my favorite films: Francois Truffaut’s “The 400 Blows,” Disney’s “Fantasia” (the first one, from 1940), Richard Linklater’s “Slacker,” Wim Wenders’ “Wings of Desire,” Anthony Minghella’s “The English Patient,” Miyazaki’s “Totoro,” and Denis Villeneuve’s “Arrival.” The movies I love tend to have great soundtracks and music, complicated themes and narrative, and have a strong voice provided by the filmmaker. Films have the potential to move the audience in metaphysical ways, showing the world through a different lens and inspiring the audience to appreciate the awe of being alive. All of these films spark creativity, curiosity, and reflection, which I believe is a higher cause for art in general.
Favorite TV program(s)? Why?
The most inspiring television shows for me have been “The Twilight Zone,” “Star Trek” (especially TOS [the original series] and Next Generation), and David Simon’s “The Wire.” All of these shows have used the serial nature of television to explore important topics in both short vignettes and long arcs. These shows have been able to spark deep philosophical discussions about science, spirituality, and ethics in a way that usually cannot be achieved in the short duration of a feature film. I share so many ideas and values with the writers of these shows and think that, through their work, they all are striving to make the world a better place.
Do you have an industry mentor?
I have several industry mentors: Mark Kaplan, Dane Davis, Greg Hedgepath, Bobbi Banks, Eric Lindemann, Scott Ganary, Jeff Kaplan, and Jon Taylor. I feel so blessed to have worked with these amazing sound professionals, editors, and mixers. I have tremendous gratitude for what they and many other folks have done for me.
What advice would you offer to someone interested in pursuing your line of work?
My main advice is to form bonds with your colleagues and mentors. Ask questions, stay in touch, and be vulnerable. It can be a difficult job, but when we create amazing sounds and work with great colleagues, post-production sound is an absolutely wonderful career path. Repeating myself for emphasis: make sure you text and call your friends and colleagues and stay connected on a personal level.
Was there ever a circumstance when you had to rely on the Guild for help or assistance?
In addition to fantastic health benefits [through MPI], the Guild is great at providing training on new technology. It has also given me the opportunity to mentor young sound professionals through the Guild’s Women’s Steering Committee’s new mentorship program.
Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
We are all in this together. The best film and television projects rely on collaboration. Maintain solidarity with your colleagues, and in the future there will be opportunities to get back to the childlike state of playing in the sandbox and building fantasy worlds together.
Compiled by David Bruskin.
