Noah Timan Sound Mixer Interview

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14/08/09 05:25 p.m.FILMSOUND DAILY!

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S A T U RD A Y , 4 J U L Y 2 0 0 9

'Noah Timan' Sound Mixer Interview.

Noah Timan is a New York based Sound Mixer who's credits

include 'Awake', 'Capote' and the upcoming Wes Andersonfilm 'Fantastic Mr. Fox'. What separates Noah from many

others is his incredible passion for what he does and for the

process of filmmaking. The interview is not a light read, it's

an in depth look at the life of a working sound mixer. If your

interest in filmmaking is anything like mine you're going to

find this fascinating and insightful.

You went to NYU - how was that experience for you?

I went to NYU for close to four years, but it got a little complicatedbecause I started working on films professionally while I was there.

NYU was a pleasant experience. It is not really a trade school per se

where you go to specifically learn one particular craft -- it's more about

getting students to understand the medium as a whole. It was a great

opportunity to meet people. I still regularly work with classmates and

people I knew then, and am thankful to see them out on sets when I

have the luxury.

At the time I was there, a lot of the professors I studied under were

very educated about cinema but didn't really have a lot of direct on-set

career film experience. That became somewhat frustrating. I did get to

study with some wonderful sound professors -- Barbara Malmet, who

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had a career in radio and was able to teach me many sound and

recording fundamentals, and then Chat Gunter, who had a longer

career as a film production mixer and was able to really teach the

nuances of the craft from experience. I ended up studying with Chat

for about two years -- both at production mixing and sound design --

and even working as his assistant on a couple odd gigs. That was the

most obvious and beneficial link between my NYU experience and

what I have ended up doing with my life so far.

The other really essential thing I did at NYU was to make my own

short film. I never finished it, but it was a key educational experience.

I was wearing a lot of different hats during that process, and that

taught me a lot of fundamental filmmaking lessons. These helped

contribute to an overall understanding and appreciation of the issues

that producers, production managers, and other departments need to

address that may affect the course of a shoot day or schedule. I find

these things can be quite baffling and frustrating on the surface to

those of us who work on the crew, so being able to have someunderstanding and empathy about why certain decisions are made

makes the whole process easier.

After two years - you left to go and work in films. Was that a

tough decision?

I actually didn't leave -- I just started working while I was in school.

During my second year in college, I spent a semester studying

production mixing with Chat and got bitten by the sound bug, and

went on to mix my first feature (a no-budget film that was eventuallywas released with Oliver Stone's support, albeit composed almost

entirely of subsequent reshoots I wasn't involved in, called

"Gravesend"). After that, I took a long leave of absence to go to work

at my father's orphanage there and travel.

After I returned to New York,

a friend called me to replace him

as sound mixer on a feature

called "Vertical City". That

led to my first paying job (barely

-- I think $100 per week was the

stipend), a film called "One

Take" that we shot later that summer/fall in upstate New York. One

thing continued to lead to the next, and after a while people were

calling me on a somewhat steady basis.

Also, friends in film school knew I was working as a sound mixer, and

would often corral me into mixing or booming their student films. I

did as many of those shoots as I could. In film school most everybody

has ambitions to be a director, so those of us who were pursuing other

crafts were in high demand. It was a great opportunity to practice and

learn.

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At this time, I also had enrolled in a full semester of classes, was trying

to produce my own student film, was working part time at a public

relations office for magazines for income, and was trying to squeeze in

as many paying and non-paying shoots as I could amongst that, so I

had quite a full plate on my hands. There came a point where I was

failing some of my regular liberal arts-degree requirement classes

because I was so busy with everything else going on. At this point Chat

kind of came to the rescue and allowed me to secure college credit

doing "independent study" with him, which allowed me to go out and

work and shoot -- there was regular sound work coming in at that

point -- and we would meet once a week and look at dailies from the

various projects I was working on. We would discuss and he would

critique, and his insight was always immensely helpful. I think, despite

his title and call to duty as a college professor and adviser, he

understood that I was going to learn more out in the field than in the

classroom, if it had to be one or the other.

Could you explain a bit about how you get involved with a

new project -- where does the work start for you?

When the phone rings from an interested client, I first discuss the size,

scope, budget, and ambition of the project. I hope to feel confident

that the resources available for the project as a whole are sufficient to

achieve its ambition somewhat gracefully. I also need to ensure that I

am going to be able to be able to get the kind of quality recordings

expected of me with the alloted budget and crew size available,

without driving myself and my team completely crazy in the process.

If it seems vaguely feasible, I ask that they send a script over, which I

review. On the first pass, I read the script as I might a novel. I

temporarily put aside technical or practical considerations, and just

read it as an audience member to see if I can personally connect with

the material. If I like it, and the production wants to meet with me, I

do another pass on the script, this time focusing on the technical

requirements and aesthetic sound choices, and red-flag all of the

potentially problematic issues. I outline these so that we can discuss

them at the meeting.

If I am hired, the next step is finding crew members. I've been blessed

with having very loyal boom operators and utility technicians for much

of my career who join me for each new adventure. However, there are

periods where things are slow or I chase after other pursuits, and in

such times my crew members sometimes need to take other jobs with

other mixers. If my regular folks aren't available, it can be a battle to

find the right people in their stead, because the pool of really high

quality boom operators and utility sound technicians in New York

(where I work primarily) can be shallow, and the handful of really

exceptional people are always in high demand.

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Crewing up is one of the most critical aspects to preparation for the

shoot. Sound, just as filmmaking as a whole, is a team sport. If the

operator can't put the microphone in the right place on a consistent

basis, or the utility person can't quickly and effectively put out the

fires that always break out on set, the sound is probably going to be

bad regardless of what I do behind the cart. In addition, my crew is

going to represent our department as a whole. I need to make sure

that they can get along with me, with each other, and with the rest of

the shooting crew. I need to ensure that they can communicate

effectively to the director, camera operators, and everyone else whom I

am sometimes going to be too physically far away from on set to

address myself. We need to effectively communicate as a team as we

break down our strategy and plan for each shot, and be able to quickly

and effectively adjust when the shot inevitably changes, so that the

mix can be executed correctly and I can come away with the best track

possible.

The next step revolves around technical preparation. This meansworkflow establishment and discussions with everyone else in the

chain -- telecine, editorial, the studio, and production as a whole. This

may mean complicated modifications to my sound cart and equipment

layout, the negotiation of hiring additional crew members on certain

days, and may also mean special

purchases or construction of equipment that will help us solve certain

problems or achieve certain feats specific to the needs of the film.

Then comes location scouting. This is also very critical because often

location managers and directors will often choose a location that,while visually wonderful, is a terrible place to record. If I can't solve

things myself, I have to get in there and try very, very hard to use

negotiation and diplomacy and see if we can find solutions to

problems that will make it work. If the issues prove unresolvable, it

falls on me to ensure that directors, producers, and any post

production staff that may be on board at that point are aware and

alerted that the production track has been decided to be sacrificed. I

make sure everyone is aware of the effort and expense that will be

needed to repair the problems later. The worst possible situation for

me is having a director or producer find out about a problem after the

fact and feel frustrated because they would have preferred to correct

the situation on set, or for me to feel that something would have been

corrected but wasn't. That's the fate I have to fight to avoid.


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Sometimes the issues are less dramatic, but allowing us to see the

location beforehand will allow us to properly plan on approaches and

anticipate problems, and perhaps alert other departments in advance

of help I may need from them. There are also practical considerations,

such as how we are physically going to get the equipment into places,

where we can park the noisy generators so they don't interfere with

the recordings, whether the airwaves in a location are free for the

wireless mics and headsets that we have to use, whether the location

managers will be able to control intrinsic noise problems, and so forth.

Finally, there are a series of production meetings, discussions on

problem solving with other departments, the ordering and packing of

equipment and supplies, and finally, the loading of the equipment

onto the trucks. Then, at long last, we're off. It's always a relief to bedone with pre-production, which I often find to be one of the most

taxing, stressful, and difficult stages of the process.

Do you ever find times when the director chooses something

visual, or a performance, over the importance of the sound

recording. And how do you deal with that? It must be

frustrating, I'd imagine. Can you think of any instances

where your work has been compromised against your better

udgement?

Sure. The most common example is the one Ive already mentioned,

where a location is chosen that looks acceptable but is impossible to

record in. In some instances there isnt a better option elsewhere a

scene at the base of a large waterfall, for example. Where it gets

frustrating is when we shoot scenes in plain bars, restaurants, houses,

apartments, or offices that sound terrible and dont need to.

Sometimes these are chosen a matter of convenience to the schedule,

to avoid having to move to another location in the middle of the day.

Sometimes these are a sacrifice to everybody, not just me. It isnt that

the locations people are being necessarily malicious or completely

absent-minded, but it does follow that when everyone from the

director on down is forced to compromise, the priority of the

production track tends to fall a ways down the priority ladder.

There are many, many different ways to die on set, and as basically

every other department on set besides ours is working toward a visual

element, they could all be construed as compromises for such purpose.

A noisy costume; directors, A.D.s, or stunt coordinators talking over

the dialogue; a generator truck parked too close to set; fans or smoke

machines that arent silenced; noisy non-sync cameras being used in

sync applications (or, in this day and age, HD video cameras with fivefans on the camera body and two on the battery); actors overlapping

their off-camera dialogue onto the on-camera actors in a way that will


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make editing impossible; crew members working and talking while

shooting is taking place; so on and so forth. Sometimes a huge part of

my (and especially my utility persons) job becomes less that of

technician and creative contributor and more that of set policeman.

Thats unfortunate, but at the end of the day our job is to deliver good

tracks without a million preventable noises in them.

Some of the most frustrating instances are when the process of the

filmmaking itself creates the sound problem. A good example I can

recall is from the set of a small indie film called Luminous Motion

that was shot about twelve years ago. In the original script, the main

character (a depressed and mentally unstable 13 year old boy) returns

to his childhood home where his life unravelled in tragedy. When he

arrives to finally confront his past and his memories, he finds that

another family has moved into the house and remodeled it and there is

no trace of what happened before. The camera turns on the boy

bursting into tears and the film ends. When we got around to shooting

it, the director of photography wanted to see a curtain blowing aroundin the background of the boys close-up. This could only be

accomplished by a noisy fan that was going to render the performance

of the boy crying unusable. There are times where I may elect or agree

to sacrifice the track for the greater good. However, here I felt like

losing this key performance moment, so central to the film -- only to

gain the visual of a curtain blowing (out of focus in a small window in

the back corner of the frame) -- was a terrible sacrifice, so this was one

of those issues I went to battle for (and won).

There is often a very dismissive attitude on set toward the productiontrack. Other crew members, like you yourself have suggested at one

point, have often bought into this idea that a high percentage of the

film is going to get looped, no matter what. So they say, Well, why I

am going to make sacrifices of my own work for the sound department

when their tracks are not going to end up getting used anyway? Or

they say, less thoughtfully (and based upon zero personal experience

in the realm) this can be fixed in post. Sometimes, in the latter case,

they are right but they are often completely unaware of how much

work is involved by the post team to accomplish that, as opposed to far

simpler solutions that often exist on set if there is some small

semblum of patience and cooperation. Folks can be oblivious to the

limited resources of post production. Time in post spent fixing

production track problems will inevitably be time lost making the film

sound great in other ways. As with all aspects of filmmaking, there is

whats genuinely possible in a theoretical ideal situation, and then

theres whats actually going to happen given the limitations and

restrictions of the reality. Having other members of the filmmaking

team insist that the post-production staff will get to indulge in the

former over the latter, while the entire time the latters cold realities

are driving those same people crazy on that exact same production

is dangerous, lazy, uneducated business, in my personal opinion.

By the time the final mix has been completed; after all the


7/16



foley work and sound design - do the films sound like what

you recorded, or something completely different?

Every project is very different. On lower budget projects, there is often

very little money set aside for post production, and some of that tends

to get usurped in the overages that occur during principal

photography and picture editorial. So on very small shows, sometimes

there isn't resource for post to do much beyond gentle massaging ofthe production track and the addition of some basic music and effects.

On bigger productions, there generally -- but not always -- is more

money and more time to fine-tune things. The quality, depth, and

experience of the post production staff and facilities also tends to vary

greatly with how much money is allotted (and/or left over) by the time

the project gets to post sound.

How much post work is needed also depends on the circumstances of

production -- a big action movie with Ritter fans and constant

screamed stunt cues is going to need a lot more ADR than a small,

dialogue-driven project where characters sit around a room and talk.

So I guess the short answer is that some films sound exactly like what

you recorded, some films sound like what you recorded but a bit

better, some like what you recorded but a bit worse, and some (very

few) nothing at all like what you recorded.

And when they sound nothing like what you recorded - does

it bother you? Or do you just take it as part of the job?

Well, I suppose Ive been fortunate in my career in that Ive never been

surprised by having a huge portion of a project replaced unexpectedly.Its certainly happened with individual scenes or shots here or there,

but I think thats thankfully been the extent of it. I expect its the same

for most mixers - generally, if somethings not going to work, you

know it while youre shooting. And if somethings going terrible on the

set say, a jackhammer two blocks away is destroying all of the

exterior dialogue you probably HOPE some excellent ADR is going

to replace all that noisy track.

On the film Winter Passing, the production spent months lucklessly

searching for a location that featured a distinctive house, a separate

wood cabin outside, and a large rolling property that fit the directors

vision. Most of the film was set on this property, and the production

wanted all three real location elements to be in the same place, so they

could change the schedule freely without having to deal with moving

the company each time. Once they finally found something the

director, producers, and DP liked, they contracted it right away. Then

they showed it to us. I flipped out when I realized it was right next to a

very loud interstate highway. The problem was intensified by the fact

that in the script, the location was supposed to be very rural and

pastoral there was even dialogue with the characters saying things

like How quiet and peaceful it is here. After they had already paid

many thousands for the location, and were about a week away from


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shooting, they couldnt ditch it and go back to the drawing board.

However, I think the producers, for whatever reason, honestly didnt

realize just how bad that was going to be. Once made aware, they were

very concerned with limiting the damage to something reasonable. To

their credit, others might have just shrugged and said, Fuck it. Well

loop it all.

To that end, they budgeted for test recordings so they could get an

idea of what they were dealing with beforehand. These eventually led

to clearance for labor and materials to properly soundproof the barn,

which was done with considerable effort (a plexiglass and vinyl

construction was set up enclosing the cabin, which otherwise wouldnt

have offered much in the way of shelter from the noise). Ed Harris

character never really leaves the cabin, so we got all his tracks cleanly

in this modified space, and they avoided having to do any ADR with

him. For the other exterior locations, there wasnt really anything we

could do there were no enclosures and we completely exposed to the

interstate highway. So a fair portion of those scenes was looped, butwe all had a pretty good idea that would be the case when we were

shooting.

How hands on are the Directors with what you do? I can't,

for example, imagine Nora Ephron having a lot of input in

your sound work.

I only worked with Nora for a couple of

days when we were doing the New York

unit of "Bewitched", but I remember her as

always being very concerned with the sound

and how deeply location-based noise

problems were going to affect the track.

She, like many good directors, understands

that if the sound is bad, there is more at

stake than the financial and time

considerations that are going to affect post

production. She knows that the

performances she is personally working so hard to extract from her

actors on set are going to be lost, and that those performances many

not come back in the same way in the ADR booth. At the end of the

day, most people go to the movies to see actors perform, and those

performances tend to drive most movies. So if the recording of those

performances is lost, it isn't just a technical and financial concern that

plagues the production -- it is an aesthetic concern that may plague

the quality of the film and its ability to resonate with audiences. Every

director is different, and so are their attitudes about their production

sound. Some will always insist on doing another take if there is a

sound problem. Others will say, "do the best you can, and don't bother

me about it, and we'll figure out whatever you can't get in post." Some

will get very involved and personally address sound issues with theactors or other crew members whose execution of their tasks are

causing the sound to suffer. Those might be dolly grips, costumers,


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property people, electricians, directors of photography, set dressers, or

any number of others. Some directors will take the time and make the

sacrifice to change the shot if there isn't a way to get usable sound, or

at least do a variation take without the offending factor. Other

directors don't even bother to wear headsets while the take is going on,

and might look at me as if I had three heads if I suggest we go again

because there was a sound problem. It always depends on the

individual in question.

On average, how much of a films dialogue tends to be ADR?

You hear stories sometimes of how it's like 90% - I'd hate to

think that's true.

There is no such average that has any effective real-world indication.

Every project is very different, and its very misleading to the public

(and, as Ive noted, even to some film professionals) to say things like

X percentage of all movies are looped. A few movies (of all budgets)

have 0% ADR, a few have 100%, and all the others have wildly

different percentages in between. Budget, time, locations, director

choices, mixer talent, re-recording, performance issues, edit decisions,

and so many more unique factors specific to a single project are going

to indicate how much looping is done on any given movie.

I think a good film for us to look at in more detail is 'Awake' -

because it's a movie most people will recognize, and I think

the sound work on it was really interesting. In most of the

scenes, the dialogue we see is not based on what we see onscreen. There's lots of dreams and flashbacks and all sorts

going on - was it like this at the script stage? And did it make

things more complex to plan?

The original script for "Awake" was considerably longer and more

complex than the cut that was eventually released. It was always based

upon flashbacks and time jumps, but those issues didn't necessarily

affect the process of recording the production track. From my end, I

still had to approach the dialogue recording straight-forwardly, even

though I knew it would be manipulated later.


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You can get an idea of this in the deleted scene selection on the DVD --

particularly one where Jessica's character introduces Hayden's

character to the outside and inside of a restaurant in Brooklyn. Those

scenes feature bits of what eventually ended up in the flashback

montages and contain just the raw production tracks as we recorded

them on set, before the wizards at C5 and the re-recording mixer

processed them as part of the eventual whole.

So much of Hayden's character's dialogue was scripted as voice over,

because once he is anesthetised he obviously isn't actually speaking.

The production wisely scheduled a session before shooting where all of

Hayden's scripted voice-over dialogue was recorded. This was to

provide the editors with a track to cut against. I knew the much of the

voice over might be replaced later with ADR (voice over often is, not

for technical reasons butfor timing reasons that relate to the edit), but

it would have been impossible for the picture editor to compose the

film without this track. If I remember correctly, I also recorded Denis

O'Leary in pre-production --he played a voice over-heavy charactercalled "The Narrarator" in the original script that ended up getting cut.

Terrence Howard's character's VO was not part of the original script,

and that was recorded entirely in post-production.

Just after Clay (Hayden Christensen) is Anaesthetised - the

scenes that follow are really intense and in some ways, quite

scary. There is a lot going on with the sound.. there's

dialogue we can hear clearly, dialogue that is quieter and

mumbled -- there's the scraping noises of utensils - and many

other things going on. Could you tell us a little bit about yourwork on these scenes; because it's really fascinating how it

all came together.

Most of that overall effect was acheived by the post team -- that kind

of effects processing is in their domain, and not normally carried out

on set.To assist them, we did do a fair amount of effects recording for

the operation room scenes. It happened in two stages. We recorded a

lot of sound effects of the medical machines and tools during

production. The prop machines and instruments were all real rented

medical tools, as the budget did not allow for quiet fakes to be

constructed and implemented. These recordings were a challenge to


11/16



orchestrate, because all of these big, heavy, immovable, hard-to-

procure medical machines were located right on the set. We couldn't

simply take them onto another stage to record them in between setups

while the grip and electric crew were setting up the lighting for another

shot (and making a ruckus doing so). We were always horrifically

behind schedule on "Awake", despite consistently very, very long shoot

days-- the scope of that project was much bigger than the budget we

actually had to work with -- and there was really no way for the A.D.'s

to grant us time to get the rest of the crew to stop working and leave

the set for half an hour while we recorded wild track of the machines.

The way we eventually worked it out was doing the recordings over a

couple of lunch breaks -- we just stayed behind and recorded the

various effects and sounds that each unique machine and tool made. A

prop person also kindly gave up his lunch break and stayed to

manipulate the machines so I could record them. My production

manager on that film, Robin Sweet, was wonderful in understanding

the importance of getting those tracks and helping us find production-friendly solutions to recording them so these things didn't get brushed

under the rug.

About two months after we wrapped principal photography, I went to

the hospital where one of our on-set medical advisers was performing

a real heart transplant operation, and I recorded about an hour of

further sound effects while the operation was taking place. Some or all

of these recorded elements may have made it into the eventual sound

design in the scenes you speak of.

Good sound-mixing, like Make-Up, is best when unnoticedright?

Hmmm. I think that in general, the audience only consciously notices

sound when it's very bad. That said, sound tends to affect the general

audience in an extremely subconscious fashion. If the recording has a

spellbinding effect on the ear, the audience may not notice it on an

obviously apparent level, but may find themselves more drawn into the

story, characters, and picture than they might otherwise. Watching a

film is a sensory event, and while the obvious primary sense that

interacts with a film is vision, the way that the sound affects the

experience of viewing the picture, and the way that it affects how the

audience responds to the actor's performance, is a very essential part

of cinema and the visceral response one has to the actors and dialogue

(and thus, the story).

My friend Tom Richmond, a very talented director of photography,

once told me about his moment of discovering how detailed sound was

going to complement what he does visually. In dailies of one of his

projects, he saw two takes of a dynamic action scene he had shot with

actors speaking as they ran through a trench. In one, the sound

department had gotten their way, removed a conflicting noiseproblem, and had been able to record the scenewith more sensitive

overhead boom microphones. Tom said that the take as a whole had a


12/16



lot of dynamics and felt emotionally affecting and stirring. In the

second take, the sound mixer apparently lost whatever battle he was

fighting, and the noise issue was once again present. This forced that

mixer into using less sensitive and less rich-sounding wireless

lavaliers in the actors' clothing to overcome the noise problem. In that

take, he said, even though the actors' dialogue could be heard clearly,

the shot felt corny and lacking of gravity.

Are you able to relax when you go to see a movie in the

cinema?

Yes, I can always relax. In the case of seeing a film that I have mixed

for the first time, I might be a bit nervy and out of the general

audience's perspective. In that scenario, I probably revisit the scenes

and locations that we shot, and am paying attention to how the post

team manipulated (or disposed of) my tracks. In the case of a film I

have not worked on, I tend to just slip into the picture and watch it as

anyone else does. It's not that I don't notice the track, it's just that Idon't focus so excruciatingly on it that I am barred from getting

caught up the rest of the picture.

People always ask me, "Doesn't working on movies ruin the ability to

enjoy the experience of watching a movie for you?" I always feel the

opposite. Not only does it not ruin it, but it adds all sorts of other

facets to appreciate. It's sort of a heightened movie experience -- I can

appreciate the story, characters, and events as the average audience

member does, but at the same time I can also appreciate the

cinematography, editing, soundmixing, costuming, and other aspects

of what has been achieved that the average person wouldn't really

understand without direct exposure to the process of filmmaking.

It actually works really well in the case of a poorly executed movie --

instead of just sitting there being bored and listless, I can focus instead

on the technical achievements and appreciate the individual parts and

efforts, since I know exactly how difficult it must have been to pull

something off and how rare a beautiful shot often is to accomplish. I

can appreciate the value of the parts even though those parts might

not add up to a greater sum overall. Sometimes I might go to see a

really techincally well-made film that doesn't end resonate with meemotionally from a story or performance level. While someone else

might sit there annoyed, I am able to mine the experience by enjoying

the successful execution of the craft that, while not contributing to a

great film as a whole, is a wonderful victory in itself.

What projects do you have coming up? Is there anything

particularly different or challenging you are going to be

facing with the sound?

Next Im doing some small bits

of stuff some second unitwork for an action/fantasy


13/16



picture called The Sorcerers

Apprentice and some reshoots

for Wes Cravens horror film

25/8, which we shot the

principal photography for last

year. Big action movies are always very challenging for production

recording because the nature of what needs to be done creates so

many obstacles, and Sorcerers will doubtlessly be no different. Wes

movie was very challenging last year for a variety of reasons, and I

expect that there will be some familiar hurdles to leap on the reshoot.

After that Im most likely working on a television series, whose

challenges lie in the pacing (an hours worth of material has to be

completed in seven days).

Earlier on you mentioned that one of the first things you do

is read the script. How important is the material to you?

Its key. A movie shoot takes over ones life. The hours are very long

twelve to eighteen hour workdays, five to six days a week, plus travel

back and forth from the set (which may not be right outside ones

doorstep). One often wraps after sunrise on Saturday morning and is

required to be back on set before sunrise Monday morning, and the

weekend gets quickly consumed by sleep, laundry, and all the other

regular life chores and errands one cant do during the week.

Sometimes one is on location for months, away from significant others

and family the entire time. The environment on set is often tense and

stressful. Feeling like youre working on something meaningful and

contributing to something with potential for greatness can go a longway not only in justifying the personal hardship and sacrifices that

this way of living can bring, but also in steeling ones drive and focus

toward the picture. When one feels like one is giving up everything just

to make a piece of junk, things can get pretty unhappy in a hurry, and

unhappiness can be very contagious on set.

In short, the film is your life while youre making it. If the film sucks,

your life sucks. That said, this is what I do for a living, and Im not

often lucky enough to have the luxury to sit back and pick and choose

between multiple projects that Im really excited about. Sometimes

scripts are really well-written, but the plan for production looks to be

disastrous. Sometimes its obvious that the ambition of the project

cannot possibly be achieved with the resources available. The process

of trying to achieve it portends total misery for everyone involved.

There may be other conflicts, too. It has taken me years to accept that

the best eventual movie does not necessarily correlate with the best

day-to-day on-set experience. Sometimes it may become a choice of

one over the other -- of what you want to accomplish as a sound mixer

versus what you want your life to be for a matter of months.

Sometimes the appearances of the projects may not be obvious and

clear, and you may think you are selecting the project that yields one

of those results when it ends up yielding the other, or vice versa.


14/16



What is your favourite movie?

Barton Fink.

Is sound mixing something you'd recommend to young

people? What particular skills and traits do you think are

essential to do what you do?.

One needs a lot of patience and diplomacy, good people skills, and an

anal-retentive fussiness and attention to detail. It isnt so much about

having great hearing as really learning to listen carefully. One needs to

have a good understanding of (and interest in) technology, a real

understanding of how the film production and post production chain

works what the goals are aesthetically as well as technically. One

needs to understand ones role in the larger picture of the film as a

whole and how to be a team player. Its critical to be able to

understand everyone elses job and needs the picture editors, the

electricians, the costumers, the property masters, the directors, the

actors, the dialogue editors, the production coordinators, the assistant

directors, the truck drivers. One needs to have quick decision-making

skills and have a fairly pragmatic attitude to problem solving. To do

anything in film production, a strong sense of humor is essential, as is

a willingness to forego sleep.

And one last thing. For me, New York is the greatest place to

shoot a film. Why is that? What is so special about it?

Well, what makes New York special is a longer answer than we

probably have room for here. New York is a very challenging, difficult

place to shoot. The weather is unpredictable and tempermental. The

traffic is awful. The roads are poor. The parking is a nightmare. Its

tremendously noisy, light is unpredictable, and there are always a

million elements out of control. Locations are small, and access to

them can be very difficult. The high rents and property values make

large, spacious, quality sound stages hard to find, and what fills in as a

substitute for them can be a miserable work environment. One can go

to Los Angeles, with its great weather, constant light, good roads,

spacious and cheaper stages, and understand very quickly why it was

once chosen as the industrys capital.

And yet many of us stay here in New York and shoot, rather than go to

Los Angeles. That says something about the allure of New York. I feel

like the appeal of Los Angeles to the public at large, beyond palm trees

and beaches, is really that the entertainment industry is there, and

entertainers live, work, and play there. That energy of celebrity and the

perception of glamour is infectious to the public, but Im not sure the

energy of the place itself is. If you took away the entertainment

industry, the movie and music stars, and the nostalgic history for

Hollywood, I am unsure if the public would continue to be as

interested in Los Angeles as they are. However, in New York, the film

industry almost feels like a side note. I feel that if you completely


15/16



removed the entire existence of the film industry here, the city would

barely notice.

That attraction and fascination that the public has with our city

translates when you shoot a film here the infectious energy of the

city shows up on screen. Sure, you could fake New York on sound

stages in other cities and people certainly have. But its a lot like

using ADR instead of the real performance. In either case, you cancreate an acceptable product that the general audience wont be the

wiser for. But you cant fake magic.

POSTED BY THE KID IN THE FRONT ROW AT 09:40

LABELS: AWAKE , BEWITCHED , CAPOTE , CHAT GUNTER , HAMLET 2 ,

HOLLYWOOD, INTERVIEW, JESS ICA ALBA , NEW YORK , NOAH TIMAN, NY U ,

SOUND MIXER , WES ANDERSON

4 C O M M E N T S :

Sylvaine said...

Hell ... I have learnt something (if not many thing for my own project)

!

05 JULY 2009 05:28

Jamie said...

What a great interview! Lots of info and insight into not only sound

mixing but also the film industry in general. Thanks a lot :)

05 JULY 2009 16:52

Anonymous said...

Dope. That first shot of Noah was taken in the upper penninsula of

Michigan in a small town called Escanaba.. haha... That was a fun job!

Thanks for the great interview!

05 JULY 2009 22:32

Anonymous said...

I work in Post Audio, and I really wish everyone took the consideration

that you do for the next step. If someone recorded the set props for meon a film during production, I would probably die of gratefulness.

10 JULY 2009 07:39

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Noah Timan Sound Mixer Interview