2014 (Production)

2014-10-03 (Production)

English (Original)

Interviewee: Don Hall
Interviewer: Betsy McLane

Professional production

United States

Sound editor Don Hall is interviewed by Betsy McLane at the Linwood Dunn Theater in Hollywood in 2014. Hall chronicles his early work in television, sound editing for feature films, and role as senior lecturer at USC’s School of Cinematic Arts. He discusses films from PORGY AND BESS (1959) to SILENT MOVIE (1976).

Sound editor Don Hall is interviewed by Betsy McLane at the Linwood Dunn Theater in Hollywood on October 3, 2014. Hall begins the interview by discussing his early years in Berkeley, California. He reflects on the lack of artistic expression in his household, noting that his parents placed a priority on education and scholastic studies. Hall recalls his stint in the Marine Corps and subsequent enrollment in the ArtCenter School in Los Angeles, where he received a BA in Cinematography/Film in 1951. After completing his studies, Hall recounts working for Mercury International Pictures, where he assumed the roles of camera operator, film editor, and still photographer. He details his move to Samuel Goldwyn Studios and later Twentieth Century Television as an assistant sound editor, sharing insight on the making of THE RETURN OF DON CAMILLO (1953), JULIE (1956), and THE PROUD REBEL (1958). Hall discusses collaborations with directors Otto Preminger (ANATOMY OF A MURDER, 1959; PORGY AND BESS, 1959) and John Wayne (THE ALAMO, 1960), remarking on the sound effects and editing techniques for each film. He touches upon his mid-1960s tenure with Fox Studios while helming their film and television sound editing departments. Hall briefly talks about the development of audio effects for the programs VOYAGE TO THE BOTTOM OF THE SEA (1964-1968) and TIME TUNNEL (1966-1967). He narrates his role as supervising sound editor for MASH (1970), THE FRENCH CONNECTION (1971), and THE TOWERING INFERNO (1974). With the advent of theatrical stereo sound in the 1970s, Hall outlines his innovative approaches to mixing dialogue, music, and effects. He goes on to fondly recall working with director Mel Brooks on YOUNG FRANKENSTEIN (1974) and SILENT MOVIE (1976). Hall reflects on leaving Fox in 1975 to join Quinn Martin Productions as Post-Production Supervisor before launching his independent company. He covers his transition to Walt Disney Studios in 1985 where he was appointed to Vice President of Post-Production–Feature Films. Tasked with managing Disney’s film audio archive, Hall details the methodology in preserving sound elements from disparate sources. He continues with thoughts on leaving Disney to work on the 1991 soundtrack restoration of THE BRIDGE ON THE RIVER KWAI (1957). Hall discusses his semi-retirement in 1996 and joining the teaching faculty of USC’s School of Cinematic Arts. Hall concludes with thoughts on the Academy of Motion Picture Arts and Sciences’ commitment to sound editing and explains his theory on the five key elements of audio design.

Don Hall (born 1928) is a sound editor and educator, with ninety-three feature film supervising sound editor credits, eleven supervising sound editor television series credits, and ten years’ experience as a post-production supervisor. Hall was born in Vallejo, California and raised in Berkeley. After graduating from the ArtCenter School in Los Angeles, Hall started his career as an assistant editor with Twentieth Century Television followed by an uncredited sound editor role for his first feature, JULIE (1956). His major breakthrough came as a supervising sound editor for director Otto Preminger’s PORGY AND BESS (1959) and ANATOMY OF A MURDER (1959). Hall’s other noted collaborators include Robert Altman (MASH, 1970), William Friedkin (THE FRENCH CONNECTION, 1971), and Mel Brooks (YOUNG FRANKENSTEIN, 1974; SILENT MOVIE, 1976). Following a brief return to sound editing for television, Hall was tapped by Disney Studios as Vice President of Post-Production–Feature Films, where he was tasked with rehabilitating their archive of vaulted films. He left the Disney post in 1991 to launch the MovieSound Co., where he helmed the soundtrack restoration of THE BRIDGE ON THE RIVER KWAI (1957). Hall has earned numerous industry recognitions, including a BAFTA, two Emmys, five Cinema Audio Society Awards, and the Motion Picture Sound Editors Career Achievement Award. Hall has served as a Governor in the Sound Branch of the Academy of Motion Picture Arts and Sciences and is a member of the AMPAS Scientific-Technical Council.

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