Member of the AFSI (French Association of Sound to Image),
Member of the Césars Awards (Cinema Arts and Techniques),
Speaks and read French and English, speaks Moroccan arabic and Hebrew.
A movie scene looks to me like a movement of a musical work, with variations in intensity and
timbre, the actors being the musicians by their voice, and the director being the conductor.
Recording a scene thereby consists in capturing its different sound sources, but also to restore homogeneity, spontaneity and life settled under the leadership of the director and the surrounding environment (place, tray, etc.).
The arrival of the new multitrack recorders such as the Cantar or the Déva allows us to separate sound sources (actors, environments) while suggesting on the mixdown this mixture of the scene built by the director and to which we are, as sound mixers, witnesses and architects. The mixdown brings back all the life and spontaneity of the scene, including mishaps which enrich it, and allow the editor and mixer to soak up this "truth".
I am very intuitive and come quickly, when setting up a scene, to define my registration strategy decision. I am always ready to run at the same time as the other departments, often without rehearsals. This speed is made possible by the complicity I have with my boomman.
My thirty years of experience on feature films and TV movies, from all backgrounds and nationalities, has allowed me to develop a greater ability to adapt to complex situations, and to be responsive ; my team and I are also concerned by the discretion and the respect of the spirit of the plateau.
Finally, thanks to my post-sync experience in auditorium, I have acquired a great serenity on the board.
Each film is an adventure in a world of its own, and the most exciting for me is to enrich myself of all these experiences, and to re-engage myself for the next film.