Angelus News | October 25, 2019 | Vol. 4 No. 36
Young dancers from Ballet Folklórico Herencia Mexicana at St. Agatha in Mid-City at the first “Día de los Muertos” celebration 2014 at Calvary Cemetery in East LA. On Page 10, Pilar Marrero reports on how both the cultural and religious aspects of the traditional Mexican feast of “Día de los Muertos” (“Day of the Dead”) have created an opportunity for evangelization in Los Angeles. On Page 14, R.W. Dellinger gives a look into the daily reality of life and death seen through the eyes of three employees at a local Catholic cemetery.
Young dancers from Ballet Folklórico Herencia Mexicana at St. Agatha in Mid-City at the first “Día de los Muertos” celebration 2014 at Calvary Cemetery in East LA. On Page 10, Pilar Marrero reports on how both the cultural and religious aspects of the traditional Mexican feast of “Día de los Muertos” (“Day of the Dead”) have created an opportunity for evangelization in Los Angeles. On Page 14, R.W. Dellinger gives a look into the daily reality of life and death seen through the eyes of three employees at a local Catholic cemetery.
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THE CRUX<br />
BY HEATHER KING<br />
Sounding it out<br />
A USC alum’s nine-year<br />
project looks at what it takes<br />
for films to reach our ears<br />
COURTESY OF “MAKING WAVES”<br />
Bernie Krause recording at Point Reyes.<br />
Midge Costin’s documentary,<br />
“Making Waves: The Art<br />
of Cinematic Sound,” is a<br />
fascinating and instructive peek into a<br />
world hitherto unknown to most of us.<br />
The film traces the history of sound in<br />
film, examines the ways directors and<br />
sound designers work together, and<br />
features the latest discoveries and advances<br />
in sound technology, all while<br />
managing to remain warm, lively, and<br />
human.<br />
Director-producer Costin is a graduate<br />
of USC Film School, a veteran,<br />
award-winning feature film sound editor<br />
in Hollywood, and the holder of the<br />
Kay Rose Endowed Chair in the Art of<br />
Sound Editing at the USC School of<br />
Cinematic Arts given by George Lucas<br />
in 2005. Producers-writers Bobette<br />
Buster and Karen Johnson round out<br />
the team.<br />
SIOBHAN LEACHMAN/WIKIMEDIA COMMONS<br />
Midge Costin at the New Zealand International<br />
Film Festival Aug. 10.<br />
Costin came out of USC as a picture<br />
editor. Sound was the last thing she<br />
thought of doing: too technical, she<br />
thought; a tangential element unrelated<br />
to story and character.<br />
By chance she happened into a sound<br />
editing job. “I didn’t care for being on<br />
the set: noise, chaos, big personalities.<br />
But I could definitely be alone in a<br />
dark room and hyper-focus.”<br />
She discovered that sound brings<br />
emotion to the picture, often in very<br />
subtle ways. She fell in love with it,<br />
and with her colleagues. By 1987, her<br />
career was off and running.<br />
Over time, her USC network grew.<br />
So did her appreciation of sound in<br />
the world and her life: people’s voices,<br />
breathing. Passing that awareness on to<br />
her students is deeply fulfilling.<br />
“I’m a teacher in the end. Early on in<br />
the class I’ll play clips and ask them,<br />
‘What do you hear? What are you feeling?’<br />
Maybe they’ll hear the sound of<br />
the wind and that will bring them back<br />
to a certain time in their lives. Sound<br />
evokes visual memories, and that’s<br />
when you can start thinking about<br />
28 • ANGELUS • <strong>October</strong> <strong>25</strong>, <strong>2019</strong>
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