“You get a little less anonymous around award season, but for the majority of the time, you can be quite happily anonymous,”
“Although, I do get the person walk up to me now and say, ‘Wow, I follow all your movies!’ I’m always shocked.”
“They’re all embedded deep in my subconscious. … I have a pretty good memory for films. … I can see something 20 years ago like I saw it yesterday. … So I could be an idiot savant.”
“My main job was making tea and sweeping around the place, but that’s the way to learn. You start at the bottom.”
“I concentrated on sound for the first part of my career, then I did a transitional thing where I was working quite a lot with Peter Weir’s films as like a junior editor. Then I would be the sound supervisor or sound designer on his films, then eventually I became his editor.”
“Sound is an incredible way to control people’s emotions and pace and rhythm,”
“It’s amazing what you can do subtly and subliminally. … I have an enormous sound library in my picture-editing [software] Avid that I draw on continuously as I’m cutting.”
“Chris does make very complicated films and I think my job in the whole process is to try to keep it as understandable as you can, because there’s nothing worse than a film where the audience gets lost to the point of being disappointed.”
“The secret that we were always trying to do with Chris’ films, ‘Inception,’ ‘Interstellar,’ and ‘The Prestige,’ was being faithful to Chris’s original idea … but never getting into a point where you’d be sitting there as an audience member feeling that you’ve been left out.”