If You Want to Make Real Movies, Avoid Real Sets [Modern Horrors]

My co-producer, Cameron Tremblay, and I graduated in the same film school class. He went to work in the locations department on big fancy American productions like Fringe, while I went to work in the sound department, taking whatever jobs I could get—usually unpaid, but sometimes they gave me fifty bucks and bought me a case of beer. And that was fine—you can’t expect to get decent paid work in the sound department straight out of school.
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