2016-04-27

English (Original)

Interviewee: John Pritchett
Interviewer: Maya Montanez Smukler

Professional production

United States

Sound mixer John Pritchett is interviewed by Maya Montañez Smukler at John Pritchett’s home in Austin, Texas in 2016. Pritchett chronicles his early work in television sound, audio mixing for feature films, and his key collaborations with directors. He discusses films from DIRTY DANCING (1987) and THE PLAYER (1992) to ROAD TO PERDITION (2002) and MEMOIRS OF A GEISHA (2005).

Sound mixer John Pritchett is interviewed by Maya Montañez Smukler at John Pritchett’s home in Austin, Texas on April 27, 2016. Pritchett begins the interview by discussing his early years in Southern California and subsequent relocation to Texas. He reflects on his early introduction to music and recalls playing drums in his high school’s marching band. Pritchett discusses his studies at Southern Methodist University and developing an interest in broadcast production. He recounts his stints as a cameraman and director for Dallas public television stations and talks about working on the new program PBS NEWSHOUR (1975 -). Pritchett recalls the co-founding of his recording studio and production facility, Sundance Productions, and makes mentions of his initial interests in sound mixing for film. He briefly speaks on mixing sound for his first feature THE CODE OF JOSEY WALES (1979) and elaborates on the challenges of working on a low-budget project. Pritchett discusses his first film with Robert Altman as a sound mixer on STREAMERS (1983), with attention to his development of the unique multi-track microphone system. He fondly recalls his working relationship with Altman and provides insight on the director’s approach to sound. He continues with an account of his second Altman film, THE UTTERLY MIND-ROASTING SUMMER OF OC AND STIGGS (1987), before touching on their last collaboration, THE PLAYER (1992). Pritchett narrates his role as sound mixer on DIRTY DANCING (1987), HOMICIDE (1991) and WYATT EARP (1994). Covering his implementation of digital audio technology in the early 1990s, Pritchett outlines his innovative approaches to mixing dialogue, music and effects for Tom Hanks’ directorial debut THAT THING YOU DO! (1996). Pritchett reflects on his introduction to director Paul Thomas Anderson and highlights his approach to recording audio for MAGNOLIA (1999) and THERE WILL BE BLOOD (2007). He makes brief observations about his work on ROAD TO PERDITION (2002) and MEMOIRS OF A GEISHA (2005), with a primary focus on both films’ Best Sound Mixing Oscar nominations. Pritchett continues with a thorough account on mixing production sound for WORLD TRADE CENTER (2006), with attention to Oliver Stone’s approach in creating an emotional aural experience. He continues with a description of sound mixing for experimental and action-adventure films, citing the examples TREE OF LIFE (2011), THE GREEN HORNET (2011) and THE AMAZING SPIDER-MAN (2012). Pritchett concludes with thoughts on the vaule of understanding good location sound, greatest lessons learned in his career, and opinions on the qualities of being a competent sound mixer.

John Pritchett (born 1947) is a production sound mixer. Born in Santa Monica, CA, Pritchett grew up in Texas. He studied psychology at Southern Methodist University in Dallas, where he began to learn about broadcast production. In the late-1960s, Pritchett worked as a cameraman at Dallas’ public television station, KERA, where he eventually started directing and audio mixing. During the late 1960s and early 1970s, Pritchett toured with a progressive country western band as a drummer. In 1979, he co-founded a successful recording and production studio in Dallas. Known for his advanced recording technologies, Pritchett was hired by Robert Altman as the production sound mixer on STREAMERS (1983). Pritchett has worked on over 100 films as a production sound mixer, and with many of the most honored auteurs, including Altman, Paul Thomas Anderson, Lawrence and Jake Kasdan, David Mamet, and Oliver Stone. In 2002, he was nominated for an Academy Award for Best Sound for ROAD TO PERDITION; and again in 2005, for Best Sound Mixing for MEMOIRS OF A GEISHA.

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