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Member Spotlight

WHAT OUR MEMBERS DO: Ian Chase, Sound Editor/Re-Recording Mixer

by uncredited March 8, 2024

written by uncredited 12 minutes read

Where are you currently employed?

I work as a freelance sound editor and re-recording mixer in Burbank, Calif., but for the past few years, the majority of my work has been with Skywalker Sound and done remotely from my home studio. I will go up to the ranch in Northern California to work in person during the final mix, as it allows me to spend time with my teammates and collaborate more effectively.

Current projects?

I recently worked as one of the Foley editors on two Marvel Disney+ series called “Echo” and “Secret Invasion.” In “Echo,” there was a unique aspect with a deaf character, and a significant part of the show involved using American Sign Language (ASL) for dialogue. Typically, Foley is a background element that helps blend the soundtrack together, but in this case, it took a prominent role; the hand movements and the sound of clothing movement that was recorded to match the ASL became the dialogue of the scene.

On “Secret Invasion,” the show had a gritty spy drama vibe with plenty of intense action scenes. One memorable moment was a gunfight in a glass greenhouse. We had the opportunity to capture all the sounds of glass breaking, SWAT team gear, weapon movements, and impacts. Even after the chaos subsides and the main characters cautiously move around, the subtle sound of crunching glass underfoot can be heard. I think it adds to the tension and realism of the scene.

Describe your job.

One of the most interesting jobs I’ve had is working as an assistant sound supervisor. The job is very diverse in terms of tasks. Because of this, I have begun to learn some basic coding skills and have even started developing my own software. One particular program I created acts as a virtual assistant. It can sort files based on their names and types, move them to the right place on the show server, create new folders with the correct-version numbers and dates, and even set up Pro Tools sessions with video and audio tracks. I built this software while working on “She-Hulk,” where it proved incredibly helpful as we dealt with 286 conforms due to picture and/or visual effects updates. Occasionally, we were conforming three times a day due to the changes. Despite having two assistants on the show, myself and Melissa Lytle, the workload was immense, so my virtual assistant software was a lifesaver.

How did you first become interested in this line of work?

As a kid, I played electric guitar and collected effect pedals and amps. Instead of focusing on learning songs, I was more interested in creating strange and unique sounds with the pedals. This sonic passion carried into high school where the guidance counselor suggested that I pursue a career in sound, so I looked into the Savannah College of Art and Design (SCAD). I applied, got in, and started learning about different positions (classifications, in union-speak) within post sound for film and TV. I’m thankful that the professors had real world experience and were able to teach a lot of the skills I still use today.

Who gave you your first break?

After graduating from SCAD, I moved to Los Angeles and lived in my car for about seven months while working for free in different post sound roles. Then Brent Kiser, a sound supervisor who owns Unbridled Sound and is a fellow SCAD alum, gave me my first paying job as a re-recording mixer. Back then, we were working on indie projects headed to festivals, so if I made a mistake, it wasn’t career ending. I took great advantage of this time and mixed on as many projects as I could. I used my time at Unbridled Sound to learn and grow as an audio professional, and now I feel confident in my work because I can spot issues early and know how to fix them.

What was your first union job?

A friend told me he had passed my name along to a supervisor at Skywalker for a Marvel TV show headed for Disney+. I remember feeling really excited and knew that if the call came through, I would be ready. A few weeks later, I was playing video games with my siblings on a Saturday morning. An unnamed call came through with a San Francisco area code, and I had to decide whether to answer the potential Skywalker call or stay online with my brothers. Tough choice, but I took the call and it was Mac Smith asking me to work on an ambitious series called “Moon Knight.” I happily took the job and a few months later even won a Primetime Emmy for the work. But I almost missed my first Skywalker opportunity because I was playing video games with my brothers.

What credits or projects are you proudest of, and why?

For two years, I worked with Wylie Stateman and Eric Hoehn at Post 2.0 mixing the foreign dubbed version of movies. Since dubbing usually happens after the project is done, there wasn’t any pressure from directors or producers during the mixing sessions, so I was free to take my time and explore. This allowed me to experiment with different mixing techniques and plugins. We would also get copies of the original Pro Tools session, and I would go through them very thoroughly, dissecting and analyzing all the automation and trying to pick up little tips and tricks.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I worked as one of the re-recording mixers on “Everything Everywhere All at Once.” Brent Kiser and the editors had already done a lot of work on the mix so they asked me to start around the middle of the movie. The reel he asked me to focus on had a scene in an alley where characters talk about finding happiness even in simple things, like owning a laundromat together. It made me reflect on my own life, and I got emotional because it felt related to events in my own life.

When I met with the directors, I shared how moved I was by that scene. We had a long conversation about its importance to the film and how crucial it would be to ensure the audience experiences a similar emotional journey. With this clear goal, we went scene by scene and discussed the emotional beats and then worked the audio until that goal was achieved. It was a new approach for me and them to build a mixing guide based on personal emotional check points, but it worked well, and I believe it’s a key reason so many audience members related to the movie in the end.

At the end of the year, our sound team was one of the ten selected for the Academy Sound Branch shortlist. It was a great opportunity to meet with other mixers and sound editors to discuss our work. A memorable highlight of the night was the chance to speak with Paul Massey, one of my favorite mixers who has inspired me with his previous mixing work. We talked about the importance of finding yourself in a project and translating that connection into artistic decisions.

What was the most fun you’ve had at work?

I used to work with two talented and funny sound editors, Danielle Price and Jacob Flack. They worked together in a small room without air conditioning. To beat the heat, they got a fan that could be filled with water to make the air cooler. Instead of using fancy water, they used tap water stored in plastic bottles in the fridge. To tell them apart from actual drinking water bottles, they drew skulls on the tap water bottles. These skull bottles still crack me up whenever I think about them, and now that Death Water is the name of a legit company, I wish they had run with the idea more.

Jobwise, what do you hope to be doing five years from now?

I have two distinct goals for the future, both very different. First, I’d love to supervise or mix on an action or war movie. My brothers are in the army, and I want to work on something they can proudly share with their army buddies. I’m on the lookout for my own version of movies like “The Hurt Locker” or “Fury.” Secondly, I heard Taylor Swift is working on her first feature film, and if the chance comes up, I’d love to be involved in any way possible.

What are your outside activities, hobbies, passions?
I learned to scuba-dive in 2021 and have been going on trips to the California coastal islands via chartered boats.

Favorite movie(s)? Why?

I keep a highlight reel of sound design moments from movies I wish I had done. I go back to the list when I’m lost and looking for inspiration. A glimpse at a few of the titles on my wish-I-had-done-that list are: “Blade Runner 2049,” “Dune,” “The Creator,” “Spider-Man: Into the Spider-Verse,” “Inglourious Basterds,” “Iron Man,” “Tron: Legacy,” “Road to Perdition,” “Transformers,” and any of the Pirates of the Caribbean movies. Each of those films has a unique sonic thumbprint and tackled a difficult genre in a fresh way.

Favorite TV program(s)? Why?

My wife and I love watching the TV show “Below Deck.” It features the interior and exterior crew working on a super yacht. Naturally, there’s a lot of workplace drama, and we always pause to talk about who we think is right and wrong.

Do you have an industry mentor?

Currently, I have been learning a lot from Justin Doyle, an amazing sound effects editor and designer. He has such great taste in sounds and is pretty much unique in his ability to select the perfect sound for a scene. He has taught me not to be tricked by visually complex, overly stacked sound editing and instead find confidence in simple, clear, well-chosen design. Since working with him, I have been trying to select one well-chosen sound rather than ten average sounds mangled together.

What advice would you offer to someone interested in pursuing your line of work?

Conan O’Brien once compared working in show biz to playing slots at the casino. He said you have to keep trying every day because you never know when you’ll hit the jackpot. I agree and have found it helpful to maintain consistent effort. I would also add that having a good life partner is key. My partner, April Lamb, is a true genius. and I really am grateful for her support, love, and business savvy.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Recently, my first child was born, and the union health insurance was amazing. Anytime I had a question or issue, I would call. They always answered the phone quickly and had the right answers.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

When I first started freelancing, I wanted to join the union and work at a studio. I reached out to various studios in LA, asking to work as a mix tech or assistant re-recording mixer. I shared my goal with my friend Eric Hoehn, who offered to help. He wrote a great email to Formosa Group, asking them to consider hiring me as a re-recording mixer. They responded quickly, wanting to schedule a Zoom interview. I was nervous, but Eric boosted my confidence by reminding me of my skills. His support helped me ask for what I wanted, and in the end, I was hired by Formosa Group to mix. If I could offer encouragement to anyone in this industry, it would be to recognize your skills as valuable and seek out supporters who believe in you and your success.

March 8, 2024 0 comments

DAYTIME IN PARIS: Lou de Laâge and Valérie Lemercier in “Coup de Chance.”

Features Interview

Hollywood Ending: Alisa Lepselter Cut What May – or May Not – Be Woody Allen’s Last Film, ‘Coup de Chance’

by Rob Feld February 6, 2024

written by Rob Feld 9 minutes read

By Rob Feld

Alisa Lepselter’s first feature editing credit was for Nicole Holofcener’s breakout “Walking and Talking,” but she was soon snatched up by Woody Allen to cut “Sweet and Lowdown,” and has been working for him nearly exclusively ever since.

Just this year, her availability realigned with Holofcener’s production schedule to collaborate with her on “You Hurt My Feelings,” before returning to cut Allen’s 50th feature film, “Coup de Chance,” his French-language suspense-drama. The film may or may not be Allen’s last—he has questioned his willingness to do the fundraising hustle at age 88—but Lepselter approached it no differently than usual.

The film tells the story of Fanny (Lou de Laâge), who had attended high school in New York but now lives in Paris. She runs into a novelist, Alain (Niels Schneider), who had been in love with her in high school and is writing his next book in Paris. Though Fanny is married to Jean (Melvil Poupaud), a wealthy and controlling finance titan, Alain pursues her and eventually draws her into an affair. Jean’s suspicions lead to a murder, leaving Fanny and her mother in danger.

Alisa Lepselter.

“In making a film, it is key to have a first-rate cinematographer and a first-rate editor,” Allen said. “I’ve always worked with only first-rate cinematographers and for many years with Alisa because she is a first-rate editor.” Lepselter’s skills and ability to collaborate with the exacting Allen are on display in the film, which moves quickly as a drama while balancing aspects but not fully following the form of a suspense thriller as closely as did their work on “Match Point.” Finding the voice of “Coup de Chance” took give and take and experimentation, and the trust born of years of collaboration.

CineMontage: Looking at the directors you have worked with—Woody Allen, Nicole Holofcener, and Nora Ephron while you were an assistant editor—there is a bit of a family tree there; not unrelated voices, but different personalities with whom to interact. Allen was one of the more pleasant interviews of my life, Eph-on perhaps the most challenging. Can you tell me about your collaborations?

Alisa Lepselter: I felt lucky enough to share a sensibility with a lot of the people I worked with. We clicked. We laughed at the same things. That’s a big part of it. I adored Nora and was so grateful to her for so many things. People would say to me, “I hope you get to be her editor someday.” But I would say, “Actually, I am much happier being her friend.” She was tough to work for because she was so demanding, so particular. I was glad that I got to see that, but not be the one who had to answer to it as her editor. But she did really encourage me a lot in my career.

CineMontage: Your first job as an editor was also Nicole Holofcener’s breakout feature, “Walking and Talking.” You were finally able to work with her again on “You Hurt My Feelings.” Did you find your collaborative process change over the years?

Lepselter: Nicole is one of my closest friends. I cut her first feature but unfortunately, we got out of sync after that. I wasn’t available when she made her second feature because I was working for Woody. So, it took us this long to be able to work together again. We speak the same language and I feel like I understand her scripts on a deep level. We’re contemporaries and we have a lot in common. I love the way she writes. When I first interviewed with her for “Walking and Talking,” I hadn’t cut a feature yet and the producers were too nervous to hire me. They said, “Nicole really loved you but she’s a first-time director and we feel that she needs someone with more experience.” But then they allowed her to hire me. She said, “I could tell that you get me,” because of the way that I spoke to her about her characters. I get her on a level very differentfrom the way I get Woody, but I understand where he’s coming from, too. I’d only cut “Walking and Talking” when I met him, but I think he trusted that I knew what I was doing, and he wanted someone who he felt comfortable sitting next to all day because he spends so much time in the editing room.

‘When we’re working it’s pretty intense.’

CineMontage: Tell me about your process with him. He’s not the personality you would imagine from seeing in his movies.

Lepselter: No, he’s very reserved. I think part of that comes from being so famous for so long that people think they know you. Our relationship is very professional. It’s all about the work. It’s not as though he doesn’t make me laugh because he does. He can’t help it. He’s one of the funniest people who ever lived, but when we’re working, it’s pretty intense. He likes to be there while we’re cutting the first pass. We always start with scene one and go through the film sequentially, assembling it together, looking at all the dailies and selecting takes. I’ll make notes as we screen the dailies and then I’ll put it together. He’s not far away while I’m doing that. With “Coup de Chance,” I had to have two scripts: a French and an English. I speak French as well as you could expect for someone who studied it a long time ago, so I felt comfortable enough with the language, reading it and listening to it, but I hired a French assistant, Hadrien Nicoloso, who could tell me if I made a mistake. If I thought that a cheat worked, I had Hadrien there to tell me whether or not it was something I could get away with; or if I unintentionally dropped a word or if a syllable got by me, or occasionally a flub in a line reading that I thought was acceptable. In a Woody film, the stammering that seems so natural isn’t something that I necessarily would cut around. But what seems like a natural stammer might actually be that the actor was just forgetting their line. That was new to the process but otherwise, we put together a first assembly, screen it on the big screen, make changes, and screen it over and over again until we feel it’s where it needs to be.

AUTEUR: Woody Allen at the 80th Venice International Film Festival 2023. PHOTO: ALAMY

CineMontage: What sort of coverage do you get from him and where does he put his focus when choosing a take?

Lepselter: He shoots limited coverage, and he doesn’t shoot a lot of takes because he knows what he wants. I think he directs efficiently. When deciding between takes, it’s almost always about performance, but it’s also about camera and the rhythm. There aren’t a ton of choices, but the actors will give you different performances. So, it’s about tone and how we feel the scene is best represented.

CineMontage: Have you seen his process or emphasis change over time?

Lepselter: He’s become more relaxed about certain things and more concerned about others. He’s certainly more trusting of me after working together for so many years. If we disagree on something, I’ll push him twice, not three times, because I feel like it’s my job to point out something when I don’t agree with him. But he’s the director. So, I have to find a way to get my point across. Now it’s nice to not feel like I have to work as hard for him to understand me. We have a much easier rapport so that if I am trying to convince him to look at something another way, he’s much more receptive to it. CineMontage: “Coup de Chance” has a suspense element but it doesn’t fully lean into the genre. Can you talk about how you found the tone? Lepselter: We find it as we go. This particular film was a little tricky because you want it to be suspenseful and to move quickly. But it is also a relationship drama that shouldn’t feel like a horror movie. That was something that we worked with a lot. The main character, Jean, had to be scary enough, but you don’t want him to be a monster. You want him to be a believable character. That was one of the more challenging aspects of this film: how to get the tone right for someone who is clearly a problematic character, while keeping him believable and not a cartoon.

CineMontage: Do you think that was more finding the performance or leaving moments out?

Lepselter: It was a combination of both. There were things that we left out that were too leading or too over the top. It was piring it down from some of the things that were on the page where, once we saw the whole, made it feel less believable.

CineMontage: He has said this will be his last film. Do you believe it or did that impact your approach to it?

Lepselter: I think he backtracked on that, and I don’t think that’s what he meant. I mean, it could conceivably be, but if something came along that he wanted to do, he wouldn’t say that he wouldn’t do it.

CineMontage: Having such an inside view, what do you think his contribution to film has been? What differentiates him?

Lepselter: He’s a distinctive filmmaker with such a specific style. Obviously, the fact that he’s made almost a film a year for so many years is a big part of it. I think the fact that he’s so prodigiously talented and prolific is an enormous contribution. Just the sheer number of different films that he’s made. Comedies obviously, but also dramas. The characters that he’s created have become some of the most important characters to film lovers everywhere. I grew up watching Woody Allen films. Never in a million years did I think I’d be lucky enough to work on one of them.

February 6, 2024 0 comments

Features Web Exclusives What Our Members Do

WHAT OUR MEMBERS DO: Alexis Lain, Assistant VFX Editor

by uncredited February 1, 2024

written by uncredited 10 minutes read

WHERE ARE YOU CURRENTLY EMPLOYED?

Universal Studios.

CURRENT PROJECTS?

I recently finished Paramount’s “Transformers: Rise of the Beasts,” and am currently working on Universal’s “Twisters.”

DESCRIBE YOUR JOB.

Visual effects editing is an interesting job in that we are part of the editorial team — we work closely with the editor, assistant editors, director, etc. — but at the same time, we also work very closely with the visual effects team on the show. We function as sort of a conduit between editorial and visual effects and spend a lot of time communicating changes and updates between the two sides of post.

A big part of our job is to keep track of every visual effects shot in the movie — how it changes throughout the edit — and relay that information to the visual effects vendors so they can work to the correct frame range and creative directives. We are responsible for turning over shots from the film to the visual effects vendors, meaning we give them the plate(s) for the shot, as well as any additional material they may need to create the shot such as balls and charts, clean plates, background plates, etc. Balls and charts and clean plates are special versions of the plate. Balls and charts refers to the version of the plate that has a ball with a reflective side and a matte side so that people making the effects can see how light plays on objects in the scene and a color chart to see how colors are affected by lighting. A clean plate is a version that has the same camera move and action as the main plate, just without actors in it so the visual effects artists have a clean plate to work with.

Once the vendors start turning around versions of shots, we ingest them into the Avid and update the current edit with the submissions so the editor and director can see them in the intended context. Then each shot goes through a series of stages through the visual effects process, with notes going back and forth between editorial and visual effects until it is officially approved and final.

Another part of our job is to create temp visual effects to help tell the story until we have actual effects to cover the shot. So a lot of the early stages of post are spent making temp visual effects. Then we transition into working with PostVis, a much cruder and cheaper version of visual effects that helps to flesh out ideas the filmmakers want in the film before it goes into the much more time-consuming and expensive visual effects process.

HOW DID YOU FIRST BECOME INTERESTED IN THIS LINE OF WORK?

I did a crude version of visual effects editing in a project called “Wireless” for Quibi in 2019-2020. At the time, I didn’t know that “visual effects editor” existed as a job, and I spent more than a year essentially reinventing the wheel and figuring out how to do that job without knowing anything about it. It was great experience but probably very inefficient.

When I decided to try to make the jump into film and started to apply for assistant editor jobs, I figured I should keep my options open and applied for visual effects assistant editor jobs as well. I lucked out and got onto “Transformers: Rise of the Beasts” as the visual effects assistant editor — and I fell in love with the work. It’s a great balance between creativity and very technical, data-based work. I get to do temp visual effects, which can be creative and fun, and work closely with filmmakers and witness the creative process firsthand. At the same time, I get to scratch the very technical side of my brain that, for whatever reason, loves spreadsheets, databases, and organization.

WHO GAVE YOU YOUR FIRST BREAK?

If we are talking first break in the industry, that would have to be a small commercial visual effects company, Eight VFX. They gave me an internship that turned into a production coordinator job. But if we’re talking about breaking into my current path, film, I would credit my current boss Warren Hickman and the “Transformers: Rise of the Beasts” team. They took a chance on me even though most of my work experience was in unscripted television and I only had one dubious visual effects editing credit. But Warren took me under his wing and taught me all about the job, and now I love it.

WHAT WAS YOUR FIRST UNION JOB?

The Quibi project I mentioned, “Wireless,” that came out in 2020.

WHAT CREDITS OR PROJECTS ARE YOU PROUDEST OF, AND WHY?

“Wireless” was such a fascinating show to be a part of. Essentially, we had to edit two films — one vertically oriented, one horizontally oriented, and both synchronized to the same audio track — that not only each told a full story separately, but also complemented each other to tell a larger story together. The show was made as though it was a film but was then broken up into short 10-ish-minute “quibis,” of course. There were many visual effects in that series, which was my first foray into visual effects editing. “Transformers: Rise of the Beasts” was the first feature film I worked on, so that also belongs in this category as it was the first time my name was on the big screen.

WHAT WAS YOUR BIGGEST CHALLENGE IN YOUR JOB (OR ON A PARTICULAR PROJECT) AND HOW DID YOU OVERCOME/SOLVE IT?

I think the most difficult part of the visual effects editing job is navigating the often opposing demands of the editorial and visual effects departments. There’s a lot of figuring out priorities and working to bridge the gap between the two departments. Sometimes you have to tread carefully so as to not step on anyone’s toes. You want to try to give everyone what they want and need, but that isn’t always possible, so trying to walk that line and keep everyone as happy as possible is the biggest challenge.

WHAT WAS THE MOST FUN YOU’VE HAD AT WORK?

I’m not sure about one specific event that would be considered the most fun I’ve had at work, but it’s the people that really make working in this industry great. When you’re spending 50+ hours a week with your co-workers, you’ve got to make it fun; otherwise, it’s not going to be a good time. I love bringing in little treats I’ve experimented with baking at home, going out to grab a drink after work on occasion, and just having a good time with my co-workers. My boss likes to introduce a movie review board to our crews where we each put up our reviews of movies we’ve seen, which is always a fun way to start conversations about the one thing we all have in common: movies rock!

JOBWISE, WHAT DO YOU HOPE TO BE DOING FIVE YEARS FROM NOW?

In five years, I’d love to be a visual effects editor (not just assistant) working on some cool big- budget movies.

WHAT ARE YOUR OUTSIDE ACTIVITIES, HOBBIES, PASSIONS?

Crafting and baking. I love working with my hands and making something out of nothing. I dabble in woodworking, love crocheting, sewing, and making delicious desserts for my friends and co-workers to enjoy.

FAVORITE MOVIE(S)? WHY?

“A Night At The Roxbury.” I know. I get looks whenever I say this, but I can quote pretty much the entire movie. I’ve loved it since I was in middle school. Additionally, pretty much every John Hughes movie. And “Singing In the Rain.” When I was growing up, I danced competitively, and my favorite solo tap performance that I did was to “Singing In the Rain,” so that musical has a special place in my heart.

FAVORITE TV PROGRAM(S)? WHY?

I tell everyone I meet that they need to watch “Dark” on Netflix — it’s so, so good. Some older shows that I love are “Buffy the Vampire Slayer,” “Frasier” (the original; it’s a perfect sitcom), “The OA” (let them finish it, Netflix!), “Chernobyl” (absolutely perfect in every way; I wouldn’t change a thing), “BoJack Horseman,” “black-ish,” “The Good Place,” “New Girl,” and “The Handmaid’s Tale.” I also have a soft spot for most house reno(vation) shows on HGTV, and competition shows like “America’s Got Talent” and “So You Think You Can Dance,” and “The Great British Bake Off.”

DO YOU HAVE AN INDUSTRY MENTOR?

Not officially, but my boss, Warren Hickman, fills that role pretty well. He has taught me so much about visual effects editing and helps me in and out of the business with his experience.

WHAT ADVICE WOULD YOU OFFER TO SOMEONE INTERESTED IN PURSUING YOUR LINE OF WORK?

Attention to detail is big in this job. There are a lot of numbers to keep straight, and you have to be able to catch slight differences in the edit. The community is pretty small because it’s such a niche position, and people are always looking for visual effects editors, so talk to people you know and see if they know of anyone looking for a visual effects assistant editor. I got my first visual effects assistant editor job from the union job board, so I’m proof that it does happen. It doesn’t hurt to go for it!

WAS THERE EVER A CIRCUMSTANCE WHEN YOU HAD TO RELY ON THE GUILD FOR HELP OR ASSISTANCE?

Not yet, but I know where to find you if I need you.

IS THERE ANYTHING YOU’D LIKE TO SAY TO YOUR FELLOW GUILD MEMBERS, SOME WORDS OF ENCOURAGEMENT?

I’m proud to be part of this Guild. I will always remember the day when I finally got my first membership card; it felt like I had finally made it in the industry. We have negotiations coming up later this year, and we are going to have to be strong coming off this year of strikes. It hasn’t been easy on any of us. We need to support each other as we have been supporting our writer and actor friends. Together we are strong.

Compiled by David Bruskin

February 1, 2024 1 comment