Using my PLN to check the latest news and updates in my field of interest, I clicked on to Google Reader and found an interview with sound designer Tim Nielsen. If you’re interested in reading it yourself, you can find it here: Tim Nielsen Interview. Admittedly, I have never heard of Nielsen, so I did some searching and found his credits on IMDb. As it turns out, he’s extremely well-credited, having worked on film hits like Toy Story 3, Avatar, Pirates of the Caribbean, Lord of the Rings, and There Will Be Blood with positions like sound editor, designer, and recorder. You can see what else he’s worked on here: Credits.
This interview basically tells readers how Nielsen got started in his career, who his influences are, and tips for sound effects recording. He, too, hard started out in college, attending University of Southern California, and is believed to be the first intern at Skywalker Sound, learning from the great Gary Rydstrom. Through his time there he networked, which eventually helped him land a job as an assistant after he graduated, and eventually began his credited works.
Tim Nielsen stated he never took advantage of a position and was always grateful. I appreciate professionals that don’t gain so much of an ego that they think they’re better than people. He learns something new from every designer, no matter how experienced. He did, however, speak about one specific person, “I find Ren Klyce’s work incredibly inspiring, his tracks have such amazing detail, and all the sounds are just perfect” (¶8). This is someone we sound designers should obviously learn about if you haven’t already. He did the sound design for Fight Club, if that helps you. In fact, here's an interview I found with him speaking about sound design: Ren Klyce Interview.
I’ve learned a few things from Nielsen's interview. He emphasized the importance of fast, quality editing. I believe that with such a technology-based industry, it is expected that you be proficient in your chosen platform, such as Pro Tools. There are so many people out there and schools teaching such platforms that it would be extremely difficult for someone without the knowledge or experience to get a job in the field, no matter how creative they may be. This is a good thing, since we’re progressing, but compared to the past where professionals were openly willing to teach others, it’s slightly disappointing. You do have to consider the fact that it's much more competitive these days, though.
If you’re interested in sound design, Nielsen says, “it’s paramount that you get a recording rig and start building your library. Nothing will prepare you better for your career than a sound library of your own creation that you know well” (¶19). Another thing I’ve learned that is especially helpful in my case, as I tend to be a perfectionist, is to know when to let something go. I’ve realized often times my original sound I thought wasn’t good enough sounded a lot better than after I kept tweaking it. Also, you don’t want to become so attached to your work because it may not even be used or a higher-up may ask you to change something about it.
Finally, he brings to attention the challenges of the industry. “Facing your own self-doubt, learning to juggle egos, especially your own, and running a crew, and learning what to do when people come to you and actually want you to tell them what to do! Politics can always be challenging on any show too” (¶28).
Tim Nielsen is an industry professional worthy of following and taking advice from. The site, Designing Sound, is also a great place to read up on interviews, news, or watch tutorials about sound design. I highly suggest it. They also have a monthly tribute to a different artist, which was pretty nice. Peter Albrechtsen conducted the interview with Nielsen and did a fantastic job. Add them to your RSS feed, twitter, facebook, etc. There is a link button bar on the side of the interview to lead you!
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