Collaborating with a lot of different directors may require different approaches while working together. With this in mind, this session will focus on the relationship between the sound editor and the director in the filmmaking process and the challenges and impacts on the result when there is fluid communication, sharing some aspects of the workflow and talking about sound and ADR.

Moderator: Ting Li Lim

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Lee Herrick had been working in sound for four decades, initially in music recording and production before moving to sound for film. 

Specializing in dialogue and adr supervision he worked on many big budget productions before finding his true passion in the independent film world. 

For the last 10 years, as supervising sound editor, he has worked closely with many well known directors of independent films. (Mike Leigh, Dominic Cooke, Chiwetel Ejiofor, Amma Asante, Rupert Goold). 

He now works all over the world, embracing the latest technology and creative workflow options with editors and facilities from New Zealand to New York, from Copenhagen, Berlin and London.

Polly Duval is a British post production supervisor. For over twenty years she has been working in London at the heart of British independent film alongside some of the most highly regarded directors and producers in the industry.

Polly has worked on more than forty feature films including NOTES ON A SCANDAL, MR TURNER, BROOKLYN, PETERLOO, JUDY and the recently released OPERATION MINCEMEAT. Last year she supervised post production on Cannes Film Festival hit MOTHERING SUNDAY, and on this year’s Sundance hit LIVING, an adaptation of the Kurosawa film Ikiru, starring Bill Nighy. She is currently finishing post on the Working Title romcom, WHAT’S LOVE GOT TO DO WITH IT?, and on THE SON, Florian Zeller’s powerful follow-up to THE FATHER, starring Hugh Jackman, Laura Dern and Anthony Hopkins.

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