WHAT SHE SAID:
Women Leaders in Post Production and How They Rose Above the Rest

In an often male-dominated world of the film and television post production, find out how this post-producer, picture editor, sound editor, music editor and composer made their way to the top.

Suzana Peric, Music Editor has been active in post production since 1981. Growing up in Croatia she attended conservatory and was on track to be a concert pianist — until she suffered a block during a performance, which ended that career. She studied film in Chicago where she gravitated towards picture editing and got a PA job on Arthur Penn’s Four Friends (1981). She then joined the post-production of the film, which brought her to New York. There, she apprenticed in sound and picture until a music editor asked her to be his assistant. Since that discovery, Peric has been music editor for the likes of Mike Nichols, Martin Scorsese, Jonathan Demme, Peter Jackson, Roman Polanski, Robert Benton, Wes Anderson and David Cronenberg, to name but a few, most of these with repeat collaborations. Her most recent work with Demme is Ricki and the Flash.

Nancy Allen, Music Editor discovered music editing at NYU, where she attended the graduate program in Music Technology. It was in the Audio for Video class that she met Suzana Peric, the music editor with whom she worked for nearly 10 years, and learned almost everything she knows about the craft.  Since then, Nancy has worked on films with Darren Aronofsky (Black Swan, Noah, the upcoming film MOTHER!), John Cameron Mitchell (Short Bus), Paul Haggis (The Next Three Days), Julie Taymor, Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance, Collateral Beauty). She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie.

Eliza Paley, Sound Editor has worked in film, production and post for over 30 years. Beginning in location mixing, moving gradually to the editing room and then to sound editing where she has had an established career since 1988. As supervising sound editor, Eliza has worked with numerous talents including Robert Altman (A Prairie Home Companion, The Company, Tanner On Tanner, Short Cuts), Cary Fukunaga (True Detective), and Hector Bebenco (Caradiru, Foolish Heart). Eliza had Co-Supervised or Supervised Dialogue/ADR editing for directors including Todd Haynes (Wonderstruck, Carol, Mildred Pierce, Velvet Goldmine), The Coen Brothers (Hail , Caeser!) and Julie Taymor (Across the Universe, The Tempest). Additionally she was a sound editor on numerous well known films including Adventureland, Age of Innocence, Casino, Last Temptation of Christ, Crooklyn, Malcolm X, The Hudsucker Proxy, Pret-A Porter and The Wrestler.

Wendy Blackstone, Composer has composed original film scores for over 130 film and TV projects, 9 of which have been nominated for or won Academy Awards. Feature films include: New Jersey Drive directed by Nick Gomez and The Dutch Master directed by Susan Seidelman. Wendy has scored 5 Primetime TV series:  For The People (Lifetime, drama), and MasterClass (HBO). Recent documentaries include: The Girl In the River for HBO, I am Not Your Guru: Tony Robbins, Larry Kramer In Love and Anger, which premiered at Sundance 2015, Dangerous Acts Starring the Unstable Elements of Belarus (HBO), Whitey (CNN), Weight of the Nation (HBO), Crude, and Alive Day Memories: Home from Iraq (HBO). Wendy’s work in theater includes Anna Deavere Smith’s Tony-nominatedTwilight: Los Angeles, directed by George C. Wolfe for both the Public Theater and Broadway’s Cort Theatre.

Susan Lazarus, Producer, Post Producer, Post Production Supervisor, began as an Assistant Editor and Sound Editor on documentaries including the Academy Award-nominated feature,The War At Home, and was a producer on Image Before My Eyes. She then moved into narrative film on Reds (Warren Beatty) and The King of Comedy (Martin Scorsese). Susan combined producing and editing knowledge to become one of New York’s first Post-Production Supervisors for feature films such as Mississippi Masala (Mira Nair), The Boxer (Jim Sheridan), Inside Man (Spike Lee), Foxcatcher (Bennett Miller). Only Lovers Left Alive and Paterson (Jim Jarmusch). Non-Fiction projects include Naqoyqatsi (Goddfrey Reggio), Apache 8 (Sande Zeig) Love, Marilyn (Liz Garbus), and The Jinx: The Life and Deaths of Robert Durst (Andrew Jarecki). She was Co-Producer of the feature Sophie and the Rising Sun (Maggie Greenwald).

Kristina Boden, Picture Editor credits include work with directors such as Brian DePalma (Carlito’s Way), Mira Nair (Kama Sutra, My Own Country, Hysterical Blindness), Lodge Kerrigan (Claire Dolan), Paul Schrader (Light Sleeper, Auto Focus) and Lasse Halstrom (Dear John).

Isabel Sadurni, Moderator, Picture Editor/Producer, To find out more, please visit: www.isabelsadurni.com

FXF008: The Sound One Era 1968-2012

Part 4. A Day In the Hallways

 

FXF008.2: The Sound One Era: 1968-2012

Part 2: Family

In the late 1960’s and early 70’s, years before Sound One had established itself as one of the most successful and highly respected sound facilities on the East Coast, it was a solo operation. Elisha Birnbaum, a sound editor and foley artist who had recently emigrated from Israel, worked with a small team but quickly developed a reputation for creating a highly productive, family atmosphere filled with astonishing creativity, quality product and quick turnaround time that attracted both the established and uninitiated to work at his studio. 

At its apex of productivity Sound One would take in 85% of all post-production work in New York City and would help launch the careers of both post production professionals and filmmakers like The Coen Brothers, Spike Lee, Alan Pakula, Michael Moore and Ken Burns among others.  Here staff and clients share stories about the personal bonds and animal spirit that helped define the dynamics at work at Sound and how they created what has come to be known as the Sound One Family.

From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

FXF006: Films of Jim Jarmusch- Jay Rabinowitz, Chic Ciccolini, Dominick Tavella

In the first episode of Frame By Frame Season 2, picture editor, Jay Rabinowitz, sound editor, Chic Ciccolini  and re-recording mixer, Dominick Tavella talk about their craft and process in collaborating with filmmaker Jim Jarmusch on his films from the 1980’s and 90’s Coffee and Cigarettes, Night On Earth, and Ghost Dog.  

 Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

The Second seminar in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY present Mixing 101: A Step by Step Guide Into the World of Sound Mixing.


This event took place at 7pm on September 29th at Soundtrack FT, 128 West 22nd St. 

The recording takes you step by step through the process of sound mixing. Feature films, television series, and independent projects will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Participants include Tom Fleischman ReRecording Sound Mixer, Bob Chefalas Re­recording Sound Mixer, Dan Brennan Re­Recording Sound Mixer, Jacob Ribicoff Supervising Sound Editor, Louis Bertini Supervising Sound Editor, Craig Kyllonen Supervising Sound Editor.

Introduction to Audio Post: ADR

Thursday September 3rd, 2015 @ 7pm 

Soundtrack NY @ 936 Broadway, 4th Floor

The first in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY, as well as Dann Fink and Bruce Winant, are hosting ADR 101: An Introduction to the Audio Post World.

The seminar will take place at 7 pm on September 3rd, 2015 at Soundtrack NY, 936 Broadway at 22nd Street, 4th Floor. Drinks and snacks will be available starting at 6:30pm.

The evening will shed light on the individual components of the ADR process. Spotting, scheduling, Principal ADR, Group ADR and Foley will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Scheduled participants include Craig Kyllonen, Supervising Sound Editor; Mark DeSimone ADR Mixer; Jacob Ribicoff ,Supervising Sound Editor;Maegan Hayward, COO Soundtrack New York; Dann Fink, Loop Group Supervisor; Alex Carpenter, Foley Artist; and Justine Baker, ADR Recordist.

Seating in the studio for this event is limited, so please RSVP to seminars@postnewyork.org. to reserve your place!

The workshop is free for members ­- $10 for non members.