worked,

and then we showed it to an audience and we got a preview score.

We rate a movie on a scale of one to 100 and it got like a 78.

After I pitched this idea of rethinking all the sound, we re-previewed the movie And it scored an 85.

So it went up seven points because only the sound had changed.

I mean, a couple of visual effects had been enhanced.

A couple of frames were taken off.

other?

Yeah

... sound designers in my community and of the world.

And that's when I dedicated myself to a process of growing and learning and apprenticing so that I could someday think of myself in that light as having done something wonderful for a movie that's my own creations.

Because oddly, you may not know this or the audience may not know this, all those sounds that we put into the Hanna-Barbera cartoons are canned in that we never made new sounds.

They had been-

Yeah.

And it's, you're just waiting, waiting.

You're not, you, you don't even notice what happens on stage until the, finally the moment comes and they open the envelope and, uh, the Academy Award goes to, and then you hear your name, and it's, it's an extraordinary rush of, of endorphins because I can remember in 1976, what drove me to Hanna-Barbera was watching the Academy Awards on television-

I mean, how are you able to bring so much life to that film? It just is brimming.

There's two specific ways.

The first is the day I landed in Sydney, Australia to start my work on it, I met Junkie.

And I was brought in as sort of a sound, I don't know the right term for it.

The movie wasn't going in the right direction sonically and George brought me in to help him get his sonic vision on the screen.

And so Junkie saw me arrive and I immediately befriended him And we began a daily collaboration.

Maybe because I am a musician and I spoke like a musician and the way I wanted to treat the soundtrack was the way with the sensitivities of a musician.

Although Sam isn't a particularly big message kind