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    Taking a look at your list of credits, it is clear that you have a passion for Sound. Where does that passion come from? What got you started? Mike McDonough : As a child growing up in Los Angeles our family friend was part of a children’s television show Saturday mornings on KTLA-TV. I remember being in the audience and marvelling at how he could talk into a microphone and every kid who watched this show could hear and see him in their own homes. He also did remote school choir recordings in the LA area, and I would go along with him and help set up the mics. As a result of this, I found myself at age 8 years old with a small battery powered reel-to-reel tape recorder going around the neighbourhood recording sounds. It just fascinated me to be able to capture sounds and keep the recordings. I realized even at that young age, I felt there was something magic about that.I soon found myself taking ideas from news periodicals I read in school and fictionalizing them into wacky radio scripts, and recording them with my friends playing the parts into my microphone. I’d then figure out how to take music and sound effects from records and make little dramas out of them. This began my love affair with sound.Meeting author Ray Bradbury as a young man at the Whittier Public Library led me to explore his world of fantasy writing, and after becoming friends with him, I was able to secure a grant from National Public Radio to produce a 13 part radio drama series called “Bradbury 13” for NPR Playhouse. That series won a Peabody Award, and got me noticed by a few people in the TV and Film industry. Soon after that, I was recording and delivering original sounds for TV shows being edited and mixed at Horta Editorial in Burbank, like “LA Law”, “Remington Steele” and “The Twilight Zone”. I even did some ghost sound design for Mickey Hart of the Grateful Dead for a TV series he was scoring.At about the same time, I was privileged to become acquainted with Ben Burtt, who was just starting his legendary sound design career with George Lucas. Ben made a trip to my home in Utah, and soon we were out in the Utah desert recording bullet ricochets for “Indiana Jones and the Last Crusade” together. Ben also landed me my first film job as sound designer on Disney’s “The Black Cauldron”. To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    What films would you recommend for people interested in learning more about sound design?Martin Hernández : I think that our favorite films are always those that achieve this coming-together, so the best way to appreciate this is through your favorite films, whatever they may be. And once you work on this you’ll understand ah! there was a piece of sound work; there was a piece of musical composition. That’s how you come to know interesting works, and the door opens because it’s your favorite film. Many of the films that I have loved don’t actually have great sound work. I love the general ambience in a film by Japanese director Nagisa Oshima, which is called Furyo or Merry Christmas Mr Lawrence (1983) and which is the story of a Japanese concentration camp during the Second World War, where they were holding British prisoners. There’s a really interesting relationship between David Bowie, who is one of the main actors, and Ryuichi Sakamoto, who apart from starring in the film was also its music composer. It’s a fantastic film and the music is incredible. Thanks to this film ‘el Negro’ and I became very good friends, because we were at school together, we worked together, and then we realized we had many tastes in common – we liked much of the same music and many of the same films. I’d been to see Furyo and he had too, he had the soundtrack and I didn’t, so he recorded it for me onto a cassette tape. We really admired Sakamoto’s music and the fact that he also acted in the film drove us crazy. Who knew that so many years later Sakamoto himself would give Alejandro a piece of music for Babel?So, Merry Christmas Mr. Lawrence is one of my favorite films. The sound work isn’t particularly special, but maybe that’s what makes it so efficient.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.