Success Comes by Focusing on the Fundamentals--A Deaf Filmmaker

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As a Deaf person without a CI, I have taken a sound production class under Chris Newman, a three-time Academy award winner and five-time nominee as sound mixer/director. His film credits included The Godfather, Amadeus, the Exorcist, The Silence of the Lambs, The English Patient, and Philadelphia. Chris Newman became a lifetime mentor and a very good friend of mine because he believes in me and knows already that I can make it in the professional filmmaking world. He made sure I learned everything inside and outside of the class, relating to the subject of sound, as it relates to film. He's tough, with a huge heart. He ordered a very specific type of speaker for me that makes enough vibrations so that they can be felt tactilely.

Photo by Aidan Mack

Newman explained to me that not every person is cut out to be a sound person. By this he means HEARING people. He explained that all throughout a hearing person's life, the person learns to filter specific sounds and shut them out, and that this actually makes it harder to be a talented sound person. Sound specialists are required to have intensive training and experience in understanding very specific types of sounds. Then, with technology and machines, they are trained to manipulate the sound track to find the right sounds that match real life. You know how hearing people are about sound. They will die if there is no sound. Poor them. (*chuckling*) If there is no sound or sound that doesn't sound right, hearing people's visual sense will shut down. The whole story collapses. I am aware that producing the sound in the movie is important. I do not have any urge to get a CI. I have my way of producing the sound that is required. Never do I think "I can't." That's not in my vocabulary! That is what being a director is all about. The director must focus on problem solving, and not be thinking "I can't."

Chris Newman in cyan shirt tested his sound mixer

Rachel is showing a lack of knowledge, because there are many different specialists in a sound department. Here is a list of jobs of a sound department that support the making of a film:

• the sound mixer (who is responsible for recording sound on set as well as wild sound and room ambiance sound),

• the boom operator (the person who holds the boom in a position so that the best possible sound will result)--By the way, I was a boom operator once and the results were excellent, but I don't like doing it since it is physically exhausting work. That's done during the production phase.

During post production, there is the:

• sound designer (the person responsible for the aural concept of a project which is a kind of aural vision for the film),

• the sound editor (the person responsible for building the sound tracks, including the dialogue, sound effects, ADR, and music tracks),

• the dialogue editor (who is responsible for taking the dialogue that has been recorded on a project and cleaning it up),

• the sound effects editor (the editor that adds or creates sound effects that are then added to the picture),

• the music editor (the editor who adds music to the picture), and the

• ADR editor (the "automated dialogue replacement editor" who is the editor who records and then adds the ADR to the picture.)



I must stress the fact that NOT JUST ANY hearing person has the capability or talent to be a sound person. It has been shown that there are only selected types of hearing people who have the talent to be sound editors. NOT ALL hearing people are able to do the job.

Photo by John Diehl and Aidan Mack

Rachel, I have already produced sound effects that have been included in a couple of my movies by using the Pro Tool and I am able to synchronize the music and sound effects on my own based on the tactile sensations that the speakers provide and feedback from my colleagues. However, since I am a collaborator, I happily give this type of job to a sound person whose passion is in this area, while my passion is directed to the visual aspect, i.e., cinematography, and directing, i.e., working with actors. I have many contacts in my professional network who will work with me to make my movies. I look forward to being invited to work on their movies and making their movies, rather than being looked upon as someone who is allegedly "flawed" in capability.

Photo by John Diehl and Aidan Mack

I'm beginning to wonder whether you don't like the idea of Deaf people not really needing CIs or the idea of Deaf people being successful without CIs. In truth, CIs are actually crutches for hearing people so that Deaf people might be molded to behave according to their (hearing people's) convenience.

Photo by John Diehl and Aidan Mack

I had great intensive training from an outstanding directing coach, Bill Hopkins from Stella Alder School, in order to learn how to work with hearing actors. At first it was challenge, not because I "can't hear," quote unquote, but because I had never learned how to work with professional actors who are hearing (or Deaf) and the many tools or techniques that are available. For one particular program I only worked with hearing actors. The results were outstanding and I'm still working with hearing actors on my movies. They even beg me not to forget to include their names on my casting list every time I produce a movie. I can "see" their voices by watching their energy, including the movements of their throats and their eyes. I do direct their use of voice and I ask them to tone it down or perhaps raise the volume. I do ask for feedback and often they agree with my directions of how to pronounce words, etc.,so I guess I am doing well in that regard.

Photo by Aidan Mack

I wonder if it is that you can't stand the idea that I can be independent without needing a CI and that I am doing good work in the filmmaking world without one?

Photo by John Diehl and Aidan Mack

Back to Chris Newman--I love to brag about him. He invited me to the production of the movie, "Before the Devil Knows You're Dead," which was directed by Sidney Lumet. It may not a big deal to you, but it is to me. I had a great time with Chris Newman. I met Sidney Lumet, Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei, Rosemary Harris, and Albert Finney. Most actors like to stay in their room, but Ethan Hawke likes to hang out with crew members during production. I met crew members, including grips, gaffers, the script supervisor, the costume designer, and the production designer. They were talking to me as a person with a huge passion in filmmaking, just like them and realize that people like me represent the future of filmmaking. They never stopped to question themselves by saying, "Oh you're deaf. Will it be a problem?" They simply just took me in with open arms. The director of cinematography, Ron Fortunato fell in love with me and to this day, he believes in me as being a cinematographer in the professional filmmaking world.

Photo by IMDb

Chris Newman would stop the film if the sound was wrong, but Sidney Lumet would get upset, because all he cares about is capturing a beautiful shot. Chris did his best to get the sound just perfect and didn't give a damn when Sidney yelled at Chris for stopping the shooting. But in the end, Sidney always appreciated Chris. And Chris did damn well, so the conflicts didn't happen often. That's why Sidney always hires Chris back for most of his movies. That's when I feel confirmation, and I know that I can do it as long I persist, work very hard, and network.

Photo by John Diehl and Aidan Mack

Rachel, it may shock to you to learn that I went to the UCLA Summer intensive filmmaking program. I was the only Deaf filmmaker there. Adobe sponsored my attendance. If Adobe didn't believe in me, then they would have rejected my application for sponsorship. I had a blast and made friends with many other filmmakers. We became a very close-knit group and they never bothered to stop and to question my ability as a filmmaker. It was one of the best things I've ever experienced.

Filmmakers and I played poker games at UCLA dorm.

Rachel, there are talented Deaf filmmakers out there working very hard to become professional filmmakers on par with hearing filmmakers. I do believe in them and have no doubts about them and their various interests and passions in the different areas of specialization in filmmaking.

Photo by John Diehl and Aidan Mack

The countless gifts of creativity, passion, visualizing through lenses, American Sign Language, being Deaf, Deaf children, the Deaf community, hearing allies and many other types of gifts have been given to me or have been a part of my life, without me feeling a need to conform myself to the whims or the social inertia of the majority.

Photo by Aidan Mack