What is your current project?
Most recently, I’ve worked on the battle sequences in HBO’s upcoming miniseriesThe Pacific, as well as gun and explosion sound effects recordings for a number of video game companies in the US and abroad.
Describe Your Job.
Sound design and editing, and sound effects recording.
How did you become interested in this line of work?
I have always loved film; when I saw––or rather, heard––Gary Rydstrom's work on Terminator 2 in 1991, I was smitten.
Who gave you your first break?
Harry Snodgrass and Richard (Rick) Legrand at Universal.
First union job?
My first union job was sound editing for Rick and Harry on a film called Gold Diggers: The Secret of Bear Mountain in 1995.
Which of your credits or projects have made you the most proud and why?
The first would have to be Twister in 1996, since it was my first tentpole film. Another film of significance was U-571 (2000), where I worked for supervising sound editor Jon Johnson, though somewhat minimally. However, it was the first film I worked on that received an Academy Award for best sound editing.
More recently I also worked on Flags of Our Fathers (2006) and Letters From Iwo Jima (2006) with Alan Murray and Bub Asman. It was neat seeing both films get the nominations they did, and Letters was also the first film I worked on which got an MPSE award.
What was your biggest challenge in your job?
What is the most fun you’ve had at work?
That happens every time I go out to record explosions and guns; I love the experience and the way in which interesting solutions always present themselves.
Job wise, what do you hope to be doing five years from now?
I actually hope to be retired and getting into NGO [non-governmental organization] aid work.
Doctor Strangelove, or How I learned to Stop Worrying and Love the Bomb; Lawrence of Arabia; A Night at the Opera; Terminator 2
Favorite TV Program?
Do you have an industry mentor?
Actually, there are three: Warren Hamilton, who recently passed away; Marvin Walowitz, who is retired, and Bill Jacobs. In addition, Steve Flick and Jay Wilkinson are two other people who have profoundly impacted my career.
What advice would you offer to someone interested in pursuing your line of work?
Plan on working for ten years before you catch your groove. Always try to tell the director’s story with your sounds.
Was there ever a circumstance when you had to rely on the Guild for help or assistance?
Not really, though I am thankful for the Guild’s work in securing its members a good health care package and retirement plan.
Is there anything you’d like to say to your fellow Guild members?
Hard times come and go, and strong people endure hard times.