Summary: WHAT SHE SAID: Women Leaders in Post Production and How They Rose Above the Rest In an often male-dominated world of the film and television post production, find out how this post-producer, picture editor, sound editor, music editor and composer made their way to the top. Suzana Peric, Music Editor has been active in post production since 1981. Growing up in Croatia she attended conservatory and was on track to be a concert pianist — until she suffered a block during a performance, which ended that career. She studied film in Chicago where she gravitated towards picture editing and got a PA job on Arthur Penn’s Four Friends (1981). She then joined the post-production of the film, which brought her to New York. There, she apprenticed in sound and picture until a music editor asked her to be his assistant. Since that discovery, Peric has been music editor for the likes of Mike Nichols, Martin Scorsese, Jonathan Demme, Peter Jackson, Roman Polanski, Robert Benton, Wes Anderson and David Cronenberg, to name but a few, most of these with repeat collaborations. Her most recent work with Demme is Ricki and the Flash. Nancy Allen, Music Editor discovered music editing at NYU, where she attended the graduate program in Music Technology. It was in the Audio for Video class that she met Suzana Peric, the music editor with whom she worked for nearly 10 years, and learned almost everything she knows about the craft. Since then, Nancy has worked on films with Darren Aronofsky (Black Swan, Noah, the upcoming film MOTHER!), John Cameron Mitchell (Short Bus), Paul Haggis (The Next Three Days), Julie Taymor, Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance, Collateral Beauty). She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie. Eliza Paley, Sound Editor has worked in film, production and post for over 30 years. Beginning in location mixing, moving gradually to the editing room and then to sound editing where she has had an established career since 1988. As supervising sound editor, Eliza has worked with numerous talents including Robert Altman (A Prairie Home Companion, The Company, Tanner On Tanner, Short Cuts), Cary Fukunaga (True Detective), and Hector Bebenco (Caradiru, Foolish Heart). Eliza had Co-Supervised or Supervised Dialogue/ADR editing for directors including Todd Haynes (Wonderstruck, Carol, Mildred Pierce, Velvet Goldmine), The Coen Brothers (Hail , Caeser!) and Julie Taymor (Across the Universe, The Tempest). Additionally she was a sound editor on numerous well known films including Adventureland, Age of Innocence, Casino, Last Temptation of Christ, Crooklyn, Malcolm X, The Hudsucker Proxy, Pret-A Porter and The Wrestler. Wendy Blackstone, Composer has composed original film scores for over 130 film and TV projects, 9 of which have been nominated for or won Academy Awards. Feature films include: New Jersey Drive directed by Nick Gomez and The Dutch Master directed by Susan Seidelman. Wendy has scored 5 Primetime TV series: For The People (Lifetime, drama), and MasterClass (HBO). Recent documentaries include: The Girl In the River for HBO, I am Not Your Guru: Tony Robbins, Larry Kramer In Love and Anger, which premiered at Sundance 2015, Dangerous Acts Starring the Unstable Elements of Belarus (HBO), Whitey (CNN), Weight of the Nation (HBO), Crude, and Alive Day Memories: Home from Iraq (HBO). Wendy’s work in theater includes Anna Deavere Smith’s Tony-nominatedTwilight: Los Angeles, directed by George C. Wolfe for both the Public Theater and Broadway’s Cort Theatre. Susan Lazarus, Producer, Post Producer, Po
