Lora Hirschberg’s love of cinema drove her to enroll at NYU’s film school. “My aspirations were, like every idiot, to become a director,” she quips with a laugh. “But I learned early on that I didn’t have a good aptitude for dealing with actors.”
She’s joking, but the experience in school, her musical background and her affection for all things mechanical pushed her into audio post. She moved to San Francisco in 1989 for a job at Francis Ford Coppola’s Zoetrope Studios and moved on to Skywalker Sound. Over the years, she’s gone from the machine room to the mix stage.
Hirschberg’s 2008 calendar was dominated with “The Dark Knight” and “Iron Man,” mixing sound effects and music on the former and dialogue and music on the latter.
“When I went to film school, it wasn’t my idea to work on giant blockbuster movies, but I’m very grateful and happy that I get to do that,” she says. “I’m also very keen on working with independent filmmakers who are a little more on the fringes of Hollywood.”