Where are you currently working?
I have my own company called Kent Road Sound Design. I’m also a sound editor for NBC Universal and freelance for Transported Audio.
Current project?
I’m overseeing and mixing two separate features: “Horntak” and “Informal Crooks”. Additionally, I’m editing sound effects for NBC’s show “The Irrational.”
Describe your job.
On the story side, I wear many hats, including supervising, editing dialogue and ADR, and serving as a re-recording mixer.
For my current television projects, I’m excited to have the opportunity to work again with one of my mentors, Jeff Kaplan, to create atmosphere and sound effects editing for his various NBC drama projects.
How did you first become interested in this industry?
I was introduced to audio technology at the radio station at Emory University in Atlanta in the 1990s. Around the same time, I attended the SXSW music conference before the film festival. They have several panels on independent films. I heard Richard Linklater talking about filmmaking, and I was hooked on filmmaking.
Who gave you your first break?
Thomas Patrick Smith, the first assistant director, hired me as a sound intern on the set of Californication, starring Brad Pitt, David Duchovny and Juliette Lewis. I had the incredible opportunity to shadow and learn from award-winning mixer Juan Antonio Garcia.
What was your first union job?
I am a Y-16 student at Westwind Media working as a Transport Operator and Mixing Tech.
What credit or course are you most proud of?
My first supervising and mixing gig was the Academy Award-nominated documentary “The Garden.” I’m also very proud of my sound design on the seminal horror films Sinister, It and Black Phone. But I’m probably most proud of my sound editing and re-recording work on the DreamWorks Animation films Trolls World Tour and Trolls. These two films gave me the opportunity to work on projects that had meaningful stories and relied heavily on great sound design and music. I’m delighted to say that I’ve been able to work on a number of projects where sound plays a central role in film narrative.
What is the biggest challenge in your job (or on a specific project)?
My goal for every film is to create the best-sounding track that enhances the storytelling and supports the director’s vision. Every project is unique and can present different challenges, from stress and fatigue on the part of the filmmaker to difficult technical hurdles. I always try to create the best work I can and keep setbacks at bay.
What’s the happiest thing about your job?
I love recording everything from group ADR to live custom sound effects. My most creative experiences have been on horror and animation projects, where I worked with recurring actors and principal actors such as Bill Skarsgård, Frank Welker, Michael McKean, and Fred Tata Theo. It’s exciting to improvise and try out different sounds and discover something scary, hilarious and unexpected.
Work-wise, what do you hope to be doing in five years?
I hope to be able to oversee or mix more shows that I find artistic and entertaining. I hope people continue to enjoy movies in all their forms.
What are your outdoor activities, hobbies and passions?
I enjoy spending time with my family, traveling, seeing live music, and playing synthesizers and drum machines.
Favorite movie? Why?
Some of my favorite movies: François Truffaut’s The 400 Blows, Disney’s Fantasia (first film, from 1940), Richard Linklater’s Goofball, Victoria Mwendes’ Wings of Desire, Anthony Minghella’s The English Patient, Hayao Miyazaki’s My Neighbor Totoro and Denis Villeneuve’s Arrival. The movies I like tend to have great soundtracks and music, complex themes and narratives, and have strong voices provided by the filmmakers. Movies have the potential to move audiences in metaphysical ways, show the world through different lenses, and inspire viewers to experience the awe of being alive. All of these films inspire creativity, curiosity, and reflection, which I believe is the higher purpose of art.
Favorite TV show? Why?
The most inspiring TV shows for me are The Twilight Saga, Star Wars (especially TOS) [the original series] and The Next Generation), and David Simon’s The Wire. All of these shows take advantage of the episodic nature of television to explore important themes in both short vignettes and long arcs. These shows are able to spark deep philosophical discussions about science, spirituality, and ethics in a way that short feature films often cannot. I share a lot of ideas and values with the writers on these shows and feel that through their work they are all trying to make the world a better place.
Do you have any industry mentors?
I have several industry mentors: Mark Kaplan, Dane Davis, Greg Hedgepath, Bobbi Banks, Eric Lindemann, Scott Ganary, Jeff Kaplan, and Jon Taylor. I feel very lucky to work with such amazing sound professionals, editors and mixers. I am so grateful for everything they and so many others have done for me.
What advice would you give to someone interested in doing your job?
My main advice is to network with colleagues and mentors. Ask questions, stay connected, and be vulnerable. It can be a tough job, but when we create amazing sounds and work with great colleagues, post-production sound is an absolutely fantastic career path. Repeat for emphasis: Make sure you send text messages and call your friends and colleagues and stay in touch on a personal level.
Have you ever been in a situation where you needed to rely on your guild for help or assistance?
In addition to the excellent health benefits [through MPI]the association is very good at providing training on new technologies. It also gives me the opportunity to mentor young audio professionals through the association’s Women’s Mentoring Committee’s new mentoring program.
Is there anything you would like to say to guild members?
We are all in this together. The best film and television projects rely on collaboration. Stay united with your colleagues, and you will have the opportunity to return to the childlike state of playing in the sandbox and building a fantasy world when you were a kid.
Compiled by David Bruskin.
