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Also Known As: Died:
Born: Cause of Death:
Birth Place: Profession: sound designer, supervising sound editor, supervising sound mixer, theatrical set construction worker, assistant sound editor

Biography CLOSE THE FULL BIOGRAPHY

One of the leading sound designers in the industry, with an outstanding history of collaborating with major American filmmakers such as Martin Scorsese, Spike Lee, the Coen Brothers, and John Sayles. Lievsay served as sound editor for the Coens on "Blood Simple" (1984) and was their sound editor supervisor on "Raising Arizona" (1987), "Miller's Crossing" (1990), and "Barton Fink" (1991). For Spike Lee, he provided sound design for "Do the Right Thing" (1989), "Mo' Better Blues" (1990), and "Jungle Fever" (1991). Lievsay began an extensive collaboration with Martin Scorsese on "After Hours" (1985), continuing through "The Age of Innocence" (1993). For John Sayles, he worked on "Matewan" (1987) and "City of Hope" (1991).

One of the leading sound designers in the industry, with an outstanding history of collaborating with major American filmmakers such as Martin Scorsese, Spike Lee, the Coen Brothers, and John Sayles. Lievsay served as sound editor for the Coens on "Blood Simple" (1984) and was their sound editor supervisor on "Raising Arizona" (1987), "Miller's Crossing" (1990), and "Barton Fink" (1991). For Spike Lee, he provided sound design for "Do the Right Thing" (1989), "Mo' Better Blues" (1990), and "Jungle Fever" (1991). Lievsay began an extensive collaboration with Martin Scorsese on "After Hours" (1985), continuing through "The Age of Innocence" (1993). For John Sayles, he worked on "Matewan" (1987) and "City of Hope" (1991).

Filmographyclose complete filmography

CAST: (feature film)

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Milestones close milestones

:
Abandoned hopes of becoming an architect in the late 1970s due to the recession
:
Parlayed some experience in theatrical set construction into a job on a low-budget feature; tasks included answering phones, getting coffee, and assistant sound editor duties
:
Worked for a film-editing facility
1980:
First significant assignment as a sound editor on "No Nukes", a concert film documentary
1981:
Worked as sound editor on "Polyester", director John Waters' first mainstream feature
1982:
Served as sound consultant for Charles Musser's documentary feature, "Before the Nickelodeon: The Early Cinema of Edwin S. Porter"
1984:
First collaboration with Joel and Ethan Coen on "Blood Simple"
1985:
First assignment as sound editor supervisor for "After Hours" and first collaboration with director Martin Scorsese
1987:
First collaboration with writer-director John Sayles as sound editor supervisor on "Matewan"
1989:
First feature credit for sound design on "Do the Right Thing" and first collaboration with writer-director Spike Lee
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Notes

"These days, Lievsay uses state-of-the-art equipment, including four Synclavier computer synthesizers, which he calls `the future of sound editing.' At his workstation in a loft space in Manhattan's Chelsea, he demonstrates what the future sounds like, running a scene from the Coen brothers' "Barton Fink" in which Fink (John Turturro), a playwright struggling to write a screenplay, is shown the rushes from a wrestling movie as an example of what's expected of him.

`What they shot here,' Lievsay says, `is supposed to be this accelerated steam roller of sensual input from the screen. But audiowise, that ain't doing it. So I'll show you what I added.' The sequence runs again. This time, there is the loud clatter of a projector. Bodies hit the canvas with giant booms. A rumble is followed by a high-pitched wail. Not only do you see the panic in Fink's face, you HEAR it." --From PREMIERE, October 1991

"As inventive as Lievsay is, wouldn't he like to get his hands on a big-budget feature with lots of special effects? `I would dearly love to do one of those,' he says, but as he talks, his loyalties become clear. `Spike and Joel and Marty are all basically more of a theater-type orientation,' he explains. `It ain't about spaceships; it's not about wild, bizarre stuff. To me, it's greater talent to make these little things that drive the sequence.'

Sounds like the old Hollywood-New York dichotomy--and Lievsay has chosen the East Coast. `Everyone who wants to make that kind of movie is there,' he says, `and everyone who wants to make this kind of movie is here.'

--From PREMIERE, October 1991

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