In 2016, I began to consider working in film, in addition to my work in theater and live performance. I contacted a few friends who were working in film as well as theater, and one dear friend, Amy Rosenblum, responded with a project she and her creative partner, Chloe Sarbib, were working on. The script and a rough cut showed up in my inbox and shortly after, Amy, Chloe, and I began to talk about the project.
We had a series of meetings, during which we discussed not only the sound of the film, but also the underlying themes that the main character is struggling with. I really appreciated these meetings, because Amy and Chloe were interested in hearing my experience watching the film and were open to talking about all parts of the film, far beyond my position as sound designer.
As this was my first foray into sound editing and mixing for film, I think it’s safe to say I learned a lot! As the sole member of the post-production sound team, I was in charge of dialogue editing, ADR, foley, sound effects, and mixing - pretty much everything aside from composing the score. For much of the process there was intentionally no score, though we ended up adding 3 small cues, composed by Jorn Swart, late in the process.