Dubbing Editor and Sound Designer
In 1984 I worked as a receptionist at a Post Production company in Bristol. Fortunately for me I was bad at typing, and worked as an assistant editor at the same time. I did years of syncing up, all on film. In 1987 I started working freelance at HTV. I worked as second assistant editor on Grand Larceny with Omar Sharif. After working on the picture I worked on the sound, as assistant sound editor. It was the first time that I’d worked purely on sound, and I found it more creative. I carried on working freelance on lots of horror films such as Hardware and Dust Devil. I got my first credit as a sound editor on She-Wolf of London. In 1993 I started working at Buffalo; I’d already worked with Tim and Max before at HTV. We worked on the BBC TV series 999, it was during the transition from film to audiofile. Over the years I’ve continued to collaborate with Buffalo, working mainly on Natural History.
What is your biggest achievement?
The Technicolor Creative Technology Award for Women in Film and Television (2014). It’s an incredibly powerful award, because it’s not about what you work on, it’s about you. The BAFTA for Frozen Planet in 2012 was amazing… and the glitziest award was the Prime Time Emmy for Sound Editing in Frozen Planet, which Tim and I won.
What is your favourite animal sound?
The humpback whale call is one of my favourites. And harp seals make lovely noises, but I never get to use them!
Where was your best sound recording trip?
I went recording in the Maasai Mara with Tim. We recorded some great sounds there: a lion breathing, vulture wings and wildebeest hooves.
What’s your favourite film for sound?
Barton Fink was the film that inspired me to become a sound editor. I love the sound of the air conditioning in the corridor of the hotel, and the contrast with the sound in all the other rooms.