Two years ago production began on my documentary about Oscar winner Sound Designer, Richard Beggs. Here’s a brief in-progress synopsis of my film:
A film’s soundtrack is responsible for half of a viewers’ experience. And the person responsible for that final mix is an unknown contributor. In comes Richard Beggs, a self-taught Sound Designer/Mixer. Discover how Richard followed his interest to an Oscar and 40 years of mixing the final film soundtracks for exceptional films. Beggs has worked with reputable Directors including: Sofia and Francis Coppola, Barry Levinson, and Alphonso Cuarón. Personal interviews with Beggs and esteemed colleagues: Murch, Hirschberg, Thom, Rydstrom, Lievsay, and Waldsperger give viewers a peek into movie magic via Sound Designers. “Painting with Sound: Richard Beggs” is film history!
Like the former competitive freestyle sprinter I used to be, I’ve gone all out on my next profile of Richard Beggs. I’m still working on the description; and that’s not the final title, but you get the gist.
Since I began the project, I’ve interviewed Richard and esteemed colleagues to compare their expert opinions. I’ve interviewed seven Re-recording Mixers, five Directors, Richard’s current wife, ex-wife, two friends, and a former Art Teacher from High School. What follows are antidotes about my process and experiences with interviews.
Truthfully, the reason why I was successful in getting ‘A List’ film industry professionals to agree to be interviewed is due to the respect they have for Richard Beggs, which speaks to the integrity of his work. Boy-oh-boy was it hard to reach them! Richard wouldn’t share their contact information, as he was highly protective and admittedly self-conscious. It took sleuthing on-line and using my own connections. It required dozens of persuasive emails to nail down a location, date and time with everyone, but that was all part of the fun.
Before all those interviews I mentioned, I did oodles of delicious research (I like that part) about the history of sound for Hollywood feature films. In addition, I familiarized myself with my ‘talent’s’ background and perspective about Sound Mixing using: books, articles on the web, or videos on You Tube, iTunes University, whatever. Then I wrote interview questions and edited them quite a few times. (I would deviate from my questions during our conversations as needed.)
My nerves before a shoot were silly but real. In part, they were due to my subject’s status in their field. Their incredible expertise intimidated the hell out of me. I discovered it helped to stop drinking coffee a few days in advance, and avoid it before a shoot. (An almond cappucino afterwards, heaven).
Okay, I admit it. Quite a few times I called my dear advisor to vent. Documentary Instructor, Erin King, (who is the Editor for my film about Richard Beggs), always put things into perspective and grounded me. I also felt prepared once I had done the following:
As a crew in one, I wear many hats. About a week before an interview, I practiced setting up and breaking down my camera, lights and sound equipment daily at home. I printed a personal release and location agreement; charged my equipment; and drew diagrams of how I could potentially light the ‘scene’.
If I was nervous the night before an interview, this sounds new-agey/corny, but I meditated. I’ve discovered a fabulous AP, Insight Timer, which clears my mind. The day of: I arrived one hour before the shoot to get my mics set to the same frequency air wave. Pee. Review my questions. Pee. Visualize setting up my equipment. Pee. (What can I say, I gave birth to three humongous babies!) And sometimes I listened to that AP I mentioned.
Typical to “run and gun” documentary filmmaking, I arrived with no idea what the lighting or the room I’d shoot in looked like. I had very little time to set up.
Director, Sofia Coppola, permitted me to interview her during an afternoon break while working with Richard Beggs on the final sound mix of her breathtaking film, “The Beguiled“. Richard has been the Sound Designer for all of her films. Prior to that, I briefly interviewed Eleanor Coppola between the final mix of her lovely first feature film: “Paris Can Wait.”
Richard Beggs has been a Sound Designer for Francis, Sofia and Eleanor Coppola for his entire career. Although I didn’t get a chance to interview the legendary film Director, Francis Coppola, I filmed he and Richard working together at his sound mixing stage in Napa, California. Mr. Coppola gave Richard Beggs his start in the film industry. Richard mixed music for “Apocalypse Now.” He also designed ‘ghost helicopter sounds’ for which he’s known for.
Further footage I shot contributes to examples of the San Francisco Presidio’s independent filmmaking scene in ’16 and ’17. Director Jonathan Parker permitted me to film he and Richard working on the post sound mix for his film “The Architect“. On another note, I filmed Phil Tippet and his crew discussing the final sound track for “Mad God (part two)” with Richard. Tippet and a few crew members bounced around ideas and impressions about Richard’s final mix in a swank screening room operated and owned by Kim Aubry of ZAP Productions.
During my interviews, I experienced a variety of circumstances. The weirdest incident occurred when a cat brought in a rat from the fields and dropped it on the floor between Walter Murch and I, and began chewing on its skull. Well, it was at his farm-house so that’s not surprising. The cat was doing its job. But it was quite odd to hear the crunching sound of its skull in my headphones. I interrupted Walter to ask the cat to leave the room with its prize– which it did, luckily.
At Randy Thom’s home, I had no trouble staging an exquisite scene to conduct our interview. The room where we met looked like it was straight out of an Architectural Digest magazine. In another interview, I obtained permission to film seven-time Oscar winner Gary Rydstrom at George Lucas’s impressive Skywalker Sound facility. The Skip Lievsay interview in New York City was an absolute highlight.
In another example, I was granted permission to conduct an interview with Lora Hirschberg in gorgeous conference room. The beautiful Mission Style space in the photo above had a spectacular view of the San Francisco Bay! In contrast in New York City, the receptionist and I moved a couch out of the shot and a chair into it. I dusted the windowsill with my palm to prep the shot quickly.
After each interview, I was for the most part pleased. Invariably, I would slam myself for what I could have done differently; or I’d remember a part of a conversation that I forgotten to follow-up on. But I moved on to the next task. No time to dwell. I won’t let my lack of experience (or money) get in the way of finishing this film!
Working on my doc about feature film Sound Designer, Richard Beggs, has been an incredible experience. I’m extremely grateful for everyone’s participation to help me tell my story.
Thank you for reading this!
Please let me what you’re working on, as I love hearing about others’ self-directed interests. I’ll write back!
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