What is your job on a film?

My job on films is supervising sound editors. I assemble a team of sound editors during post-production. Typically, we get involved during the last four or five weeks of principal photography and begin working alongside the picture editing process. While the editor is assembling the picture cut, we start building a sound library and discussing the filmmakers’ vision—how to bring their concept to life through the soundtrack and enhance their storytelling through sound. We have limited interaction with the on-set recording engineers or mixers, but it’s always a valuable relationship as we carry forward their work into post-production and the final mix. Essentially, my role is to ensure good communication between the filmmakers and the sound team, making sure we’re all on the same page.

What was your first high-budget Hollywood job?

As strange as it sounds, when I was 19, I traveled to Australia. I had already started working in the film industry, and I knocked on the door of a company in Sydney that was working on the third “Mad Max” film (“Beyond the Thunderdome”). I ended up working with them, taking notes, composing music—doing whatever was necessary. Everything was done on magnetic film back then; nothing was digitalized yet. Interestingly, someone brought a Fairlight synthesizer at that time, proposing it as a potential tool for creating sound effects, since up until that point, everything was done using very minimal mixing techniques.

Pitch changes were extremely challenging because there were only a few machines capable of that, and the quality degraded noticeably with each change. Sound design was quite basic, focused more on mixing sounds than manipulating them, and I learned a lot working with them in Australia. When I returned home, that experience prompted me to shift from picture editing to sound editing, as I realized digital sound would soon become more prevalent, and that excited me more. So, that was my first significant project.

Mission Impossible

It’s hard not to notice you’ve worked on many films starring Tom Cruise. What’s he like?

We have a very professional relationship. We meet and discuss projects more frequently in recent years as he’s become significantly more involved in the post-production process. As a producer, he’s deeply interested in the whole filmmaking process, not just his role in front of the camera. I meet with him whenever he calls—perhaps monthly or every five weeks. He’s very charming, intense, and passionate about what he does. He’s genuinely committed to the process and cares deeply about the crew and team involved. He’s a great guy.

What’s remarkable is that when you first meet someone like him, you often encounter the imagined persona, not the real person. Initially, you think, “Oh my God, it’s Tom Cruise—I don’t know how to behave,” but he quickly makes you feel comfortable and focused on why you’re there. One thing he does, which I greatly admire, is clearly define the boundaries of the interaction. You’re there to create the best possible soundtrack for his film, not to chat casually.

This clarity forces you to focus intensely on what’s needed. For me, that’s a refreshing way to work. He’s direct, intense, yet open to discussion about how things can and should be done, always aiming for the best outcome. I think he’s quite unique in his personality and passion for filmmaking.

Looking at your IMDB biography, you seem like a specialist for action movies?

It certainly appears that way, doesn’t it? Funny enough, I actually started with animation, which isn’t action—though “Wallace & Gromit” might be perceived as action-oriented. Then, I got an offer to work on “Harry Potter.”

The types of films I worked on changed significantly. I became a sound supervisor for action films rather than dramas. Often, the difference lies in your ability to remain calm, stay focused, listen to the requirements, and deliver what’s needed. Delivery is key because big-budget films inevitably encounter significant problems, and they need people capable of delivering under pressure, regardless of their specific role—be it visual effects, sound, or lighting.

The focus is always on overcoming adversity and getting the final film ready for audiences. The solution isn’t just spending more money, because the more money spent, the more complicated and unfocused things can become. I prefer collaborating closely with filmmakers, post supervisors, and studios, keeping open communication throughout the process to ensure clarity and timely completion.

I started with big fantasy films like “Harry Potter,” then worked with producer Kenneth Branagh on “Cinderella” and “Jack Ryan,” which was my first action film. Stephanie Ito, head of post-production at Paramount, then introduced me to Christopher McQuarrie, who was working on “Mission: Impossible” and needed someone London-based. Since then, I’ve worked with him regularly, including films like “Top Gun: Maverick.”

It’s funny when you look at my filmography—action, action, action, drama—then back to action. It really depends on the filmmakers I work with. I don’t know if Chris will stick to action or branch out, while Kenneth Branagh’s preferences are very diverse—from detective thrillers to action to Disney princess stories.

A film that truly stood out

I wanted to ask you about the “Top Gun” sequel. How did you get the job, and what was it like working on such an incredibly entertaining film?

It was amazing; the dynamics were different from “Mission: Impossible.” Chris was a producer and writer on this film, which was shot in the US, but they couldn’t quite achieve what they wanted with their initial team, so the studio asked my team and me to step in to finish the soundtrack. Coincidentally, lockdown hit around that time, so we were all working remotely from separate studios. The orchestra score was recorded by musicians around the world, each individually, as they couldn’t meet together in one space.

We eventually gathered in a room in London, maintaining strict social distancing measures, masks, and sanitizing everything. Tom’s team would thoroughly disinfect spaces before he and Chris arrived. The production itself was unique and special. The film was beautifully shot, and the story was incredible, capturing the heart and soul of the original. Even today, some scenes give me goosebumps—it’s difficult to surpass the performances and the humor. It truly became a standout project.

And it won you an Oscar. What was it like to receive the world’s most prestigious film award?

Surreal. I’d been nominated the year before for “Belfast”—a fantastic film, though entirely different from “Maverick”—and again afterward for “Mission: Impossible – Dead Reckoning.” We didn’t expect to win the Oscar for “Maverick,” but we were incredibly proud and received tremendous compliments from filmmakers like Spielberg and others. Being acknowledged by the Academy, BAFTA, and other awards was incredible. Interestingly, at the Oscars, we were sitting right behind the “All Quiet on the Western Front” team, fully expecting them to win, and preparing ourselves to applaud them. When we were announced as winners, it was truly unexpected, making the moment all the more special.

What’s next?

We’re currently working on “Mission Impossible 8,” titled “Final Reckoning,” and finishing mixing for a thriller called “Amateur” for 20th Century Studios, which tested very well with audiences. We’re exploring innovative ways to deliver sound through tactile transponders and receivers so deaf audiences can physically experience sound in cinemas. We’re also converting a boat on the River Thames into a studio with microphones placed everywhere, to capture authentic sounds onboard.