Production sound mixer Steve Morrow explains why due to using Lectrosonics on set, Bradley Cooper relieved that no ADR was required for the Oscar nominated film, Maestro.
Now streaming on Netflix, Maestro sees director and star Bradley Cooper chronicling the life of legendary conductor and composer Leonard Bernstein. Connecting its myriad chapters via the narrative of Bernstein’s marriage to actress Felicia Montealegre (Carey Mulligan), the film explores Bernstein-the-man in ways never taught at any music school.
Maestro has already earned nominations for seven Academy Awards, seven BAFTA awards, and two Screen Actors Guild awards — and won an American Film Institute award. One of those Oscar nods is for Best Sound, and mixing lead Steve Morrow, whose credits also include La La Land, A Star Is Born, and Ford v. Ferrari, had two equally challenging types of source to capture. First, a large cast dishing overlapping, rapid-fire dialogue; second, orchestral and choral music recorded in real time on set.
A long time Lectrosonics user, Morrow employed SSM transmitters and Venue2 modular receiver racks for actors, HMa plug-on transmitters for booms, and LT transmitters paired with a DSQD digital receiver for communications. Wireless Designer software was employed for frequency coordination.
What was your path to becoming a production sound mixer?
My love of making movies started when I was very young. When I was eight, we moved to California. We were across the street from a park and a hotel in Woodland Hills where movies were shot all the time. I’d go over, just curious, and fell in love with the idea that this could be a job.
We eventually moved to Seattle, where I took film classes in community college. In all my projects, the sound was just terrible! I took a sound class, which was more about studio music recording but touched on video production. I
started applying what I learned there to other people’s projects as well as my own. One of the professors, who had done a lot of documentaries, told me the Washington state film hotline had job listings. I got my first unpaid job as a boom operator. It was a movie called Where the Air Is Cold and Dark, shot in a logging town where it rained the entire time. I was soaked from the first take until we wrapped, and I loved every minute of it.