Milly is a filmmaking force to be reckoned with. Her many accolades include two Academy Award nominations for her work on La La Land and First Man along with an armful of flip cover samsung j4 plus other nominations and awards over the course of her stunning career. Her back story about coming up in the business is just as interesting as her story is today. We had a chance to talk a bit about that background as well. One recurring work colleague is Ai Ling Lee who has shared supervising duties with her on a half dozen Hollywood hits or more. I wrote a piece on La La Land and their collaborations here.
Milly had just begun her most recent project, the feature film I’m Your Woman when the pandemic hit the US hard. But she and her team took the reins and devised a way to work safely and remotely to get the film finished under these difficult circumstances.
Woody Woodhall: Just as COVID 19 hit you had started work on a new film and the decision was made to find a way to continue the work to complete the soundtrack, can you speak about that experience
Milly Iatrou: A couple of days before Governor Gavin Newsom issued his “shelter in place” order I started supervising a feature film for Amazon Studios, I’m Your Woman, directed by Julia Hart. I had walked into the Fox Studios sound editorial department as most of the sound editors were packing up and copying media in preparation to setting up workstations in their homes. My intention was to work at Fox since I didn’t have a Pro Tools system at home but our First Assistant, Galen Goodpaster informed me cover samsung galaxy grand neo amazon that the Pro Tools we had just rented from Digital Difference as a final mix rig for a mix we had just finished a couple of days earlier was available. I contacted the post supervisor to ask if I should grab that custodia cover iphone 6 6s plus rig and she told me to go for it. We were a small crew: custodia cover samsung note 10 Douglas Jackson and I co supervised. I cut the dialogue, ADR and Group, Doug did all the sound effects, sound design and edited the Foley. Galen kept it all running smoothly.
For most of the schedule it was quieter than during normal times. Our temp mixes were canceled and ADR was postponed until further notice pending access to stages. Galen periodically sent us turnovers with new picture, AAFs and guide tracks. As I edited the dialogue, I sent the picture editors, Tracey WadmoreSmith and Shayar Bhansali, mixes of the dialogue. Since we didn’t have the usual opportunity to play tracks for the director and picture moschino cover samsung editors during temp mixes I thought it would be good to familiarize them with scenes where I used different mics, noise reduction and anything which would make the dialogue sound different from what they were used to hearing. When my mixes appeared in subsequent turnovers, I knew they were happy with what I had done.
Our final mix was scheduled to begin mid May. In anticipation of recording ADR, Galen and our post supervisor, Tamara Gagarin, did research regarding options during the almost world wide shutdown. We had to get creative.
Luckily the film didn’t require a huge amount of ADR. One of our actors was in upstate New York and only had one off screen line. Amazon sent him a Rode VideoMic Me L so that he could record the line on his iPhone. It took a couple of tries to get it right, but we eventually got a recording which worked in our mix.
Two of our principal actors lived in New York City which was the epicenter of the Covid crisis. They wanted to record at home. We had already done our research so were aware that Soundtrack New York had built a recording rig designed to be foolproof for actors. They delivered it pre assembled and sanitized to the actors’ homes. The kit consisted of a laptop, a MixPre 3, a lav mic, a boom mic, headphones and detailed instructions. All the actor had to do was turn everything on and press the record button on the recorder. Bill Higley at Soundtrack ran the session from his studio where he also recorded the ADR. The actor, the director and I (all in different locations) were connected to Bill with Source Connect to hear the recording and see the picture and we used a Zoom session to communicate with each other. The recording on the MixPre 3 was a backup of one long take of the whole session which could be used if there were drop outs in Source Connect and therefore in Bill’s recording. It worked amazingly well. Mixer Mark Appleby set 4 mics a lav (which the actor put on himself) and three boom mics placed close, medium and far. Once again, the silicone iphone cover director and I were at home and we communicated to London and one another using Zoom.
Loop Group was more of a challenge. Even though I’m Your Woman was relatively light in terms of Group, cover samsung galaxy s7 libro there were a few big crowd scenes. Voice Casting which had created a workable system where each actor recorded their loops in their own closet. We were all linked together with Frankie, an app which allowed up to 10 people to view and hear the film. Again we used Zoom to communicate with one another. It took longer than a normal group day but I was able cover samsung galaxy grand prime a libro to get everything I needed for the film which seemed like custodia cover huawei p8 lite a miracle to me.
Our final mix took place at Sony Studios while the city was still shut down. There could only be a handful of people on the Holden Stage due to social distancing so I opted to monitor the mix from home. Every morning Sony engineering sent me a link via Clearview, and I was able to follow the mix all day in sync to picture. When the director and producer showed up cover samsung galaxy s4 flip to give notes, they would call me using FaceTime so I could follow the discussion and work on mix fixes which I quickly sent to the mix using Aspera. The mixers, Julian Slater and Andy Hay were happy with the setup and felt it ran smoothly. It was almost like being there but without the donuts. Until the last day of the mix when director Julia Hart and producer Jordan Horowitz took pity on me and sent me a box of incredible donuts so I could join in the fun.
WW: Let’s step back from that and talk about your work as a dialogue editor where you spent a lot of time early in your career. Every supervising sound editor understands the essential value of a great dialog editor. Tell me about doing that work and what you enjoyed about it. This was in the early 1990s in the San Francisco Bay Area. I was initially hired as an assistant sound editor. Gwen Whittle was the only dialogue editor on the crew and needed help, so she offered to teach me how to edit dialogue and an editing credit if cover oki iphone I was willing to cut two reels (the equivalent of one of today’s reels) while performing my assistant duties. We were still working on magnetic film back them. I immediately enjoyed the problem solving aspect of the work and the attention to detail. After that I bounced back and forth between assisting and editing for a few years until my husband and I decided to iphone 6 cover for iphone 6s move to Los Angeles where there seemed to be more union editing jobs. The first job I found in LA was as a dialogue editor on a Michael Cimino film, Sunchaser, a short gig working on film. That was my last film gig. From then on, all films were using digital audio workstations. In a very short period of time I had to cover samsung i9060 teach myself how to edit dialogue on Pro Tools, Audiovision, Fostex, Waveframe, Fairlight. I found it much more interesting to work digitally and enjoyed having more options to manipulate the sound beyond using razor blades, sandpaper and sharpies.
WW: Can you cover samsung galaxi grand neo plus describe the various differences in cutting dialog from one film to another
MI: In the early years of my dialogue editing work (1990s) the expectations of how the tracks should be prepared was very consistent. The general style seemed to be very clean, pristine with most of the problematic, noisy scenes replaced with ADR. Our crews were bigger so we could really remove every imperfection from the tracks. There were usually at least two dialogue editors on a sound crew but usually three or even four. Schedules were longer, budgets were bigger. But now sound crews continue to shrink. We’ve gone from two dialogue editors to one then one person supervising dialogue and ADR. These days as a supervising sound editor I often am the sole dialogue and ADR supervisor too. Styles of filmmaking have changed a great deal since the 1990s and therefore styles of sound editing and design. custodia cover huawei y6 2019 Now when I supervise a film, I start by getting a handle on the feel and world of the film. Often lately, the director does not want a super clean dialogue track. This was the case on Damien Chazelle’s First Man. The scenes on Earth were shot in a documentary style using super 16mm film to convey a real, gritty feeling. The sound had to be analogous. Damien didn’t want it to sound too clean. The mission control scene during the Gemini 8 sequence was shot like a documentary. Production mixer Mary Ellis mic’d every one of the actors with a lav. I worked with Dialogue Supervisor Susan Dawes who edited the scene using the lavs to separate the dialogue from the shuffling and paper movement in the room. When Damien heard the sequence during the final mix he felt it was too clean. He liked the way he was used to custodia cover samsung s20 1 hearing it using the mix channel with the dialogue tied to all that paper shuffling and movement. So, Susan and I quickly recut the sequence on the final stage using the mix channel and using the lavs sparingly to clarify the dialogue when needed. I find it’s becoming more common for directors not to want to dialogue sound too clean and artificial. Most directors I work with these days do not want to use ADR at all, usually only for story purposes.
WW: Due to your expertise as a dialog editor, how does that inform your work as an supervising sound editor
The High NoteMI: My work as a dialogue editor has made cover samsung galaxy a7 2018 amazon me hyper aware of the importance of starting with great production sound. When I’m lucky enough to be chosen to supervise a film early on in the process I like to be able to weigh in on production mixer candidates. I always have a conversation or email exchange with the mixer before the start of production after having flagged scenes in the script, to ask for wild tracks or to arrange to send a sound effects recordist on set to record unique machines or crowd scenes.
These days I’m more hands on than ever. I just finished working on The High Note with my frequent co supervisor Ai Ling Lee who also was the sound designer and re recording sound effects mixer. It was a very enjoyable project for many reasons including working with Ai Ling as well as working with director Nisha Ganatra who was very inclusive and open to our suggestions. In addition to co supervising the sound I supervised and edited the dialogue and ADR. I had a week of help from Laura Graham who edited most of the ADR and a week of help from Doug Jackson who edited the group ADR. cover samsung s5 napoli I was a little nervous at the start of cover apple iphone x viola the project because I worried that I would need more than two weeks of help, but it all worked out. Luckily Lisa Pinero, the production mixer, did a fantastic job so we didn’t have to replace hardly any dialogue with ADR which helped keep the workload under control. On First Man, I worked with dialogue supervisor Susan Dawes so in addition to co supervising the project with Ai Ling, I edited some of the dialogue, supervised the ADR, and edited some of the ADR and group.
Director Nisha Ganatra on the set of her film THE HIGH NOTE, a Focus Features release.
Credit: Glen Wilson / Focus FeaturesWW: You’ve worked on projects with many of the same people over the years, can you talk a bit about the community of sound professionals working in Hollywood
MI: I love the sound community here in Los Angeles. In the more than twenty years since I’ve worked here, I’ve been lucky to work with terrific, supportive people. Things really came together for me once I started working at Fox Sound Editorial around the turn of the last century. John Larsen ran the department until last year when he retired. I first worked there on Sandy Berman’s crew as a dialogue editor. I liked the environment and the people so much I just kept bugging John Larsen for work, and he hired me. Susan Dawes who is a brilliant dialogue supervisor was a regular. She had been at Fox for five years when I first started working there. She liked my work and kept asking John to hire me. ADR supervisor Bob Kizer was also a regular and I learned a lot about ADR from him. iphone x cover ysl He also has an encyclopedic knowledge about filmmaking and Hollywood history and it was always fun to get into the weeds with him. At one point the legendary Chuck Campbell, Spielberg’s supervising sound editor, did a series of films at Fox. Susan, Bob and I worked for Chuck on Catch Me If You Can. We worked as a team on many films but more recently crews are smaller, so I often end up doing the duties of SSE and Dialogue/ ADR Supervisor myself. A few years later, around 2007 Galen Goodpaster, First Assistant Sound Editor supreme, started working in the department. Now she’s a permanent member of my crew. Over the years she’s also worked as a supervising sound editor, ADR Supervisor and editor. Recently I’ve been working with the great Dialogue Supervisor Teri Dorman. She’s another editor I’ve learned a great deal from. Ai Ling Lee came to Fox in 2011 to work on We Bought a Zoo and has made Fox her base since then.
WW: There is always confusion about the role of supervising sound editor in the post process. The title is selfdescriptive however it would be useful to discuss the team of sound editors that you are supervising and your role as the supervisor.
MI: I prefer to work with a co supervisor, most often with Ai Ling Lee but I also supervise on my own or with others. I focus on the dialogue, ADR and group while Ai Ling supervises the Sound Design, SFX and Foley. Throughout the process we share information about our areas of concentration and play things for one another for feedback. Currently I’m working with Douglas Jackson, a veteran, skilled sound editor, in the same manner.
MI: I first worked with Ai Ling in 2011 on the Cameron Crowe film, We Bought a Zoo. I didn’t know her very well at the time but immediately liked her and was blown away by the sensitivity and subtlety of her sound design. At the start of the project I was working with another co supervisor who had to leave due to personal matters. So, I asked Ai Ling if she was cover samsung j7 marvel interested in sharing supervisor duties. Since then we have co supervised on many films including Hitchcock, Wild, La La Land, Battle of the Sexes, The Mountain Between Us, First Man and most recently, The High Note. I love working with Ai Ling for so many reasons, one of them being that she is all about the work and creating the best sounding track possible and never about ego. She can stay calm, focused and productive even under extreme pressure. She’s a delight to work with in so many ways!..