Craig Carter.
One of Australia’s most respected sound designers, Craig Carter, has died in Melbourne.
The multiple AFI award winner had a heart attack last Friday, aged 60. The sound designer, editor, and recordist worked on more than 100 productions in a career spanning 34 years.
He was working with producer Tait Brady on Clayton Jacobson’s film Sibling Rivalry, now three weeks into production.
Brady, who first collaborated with Carter on Craig Monahan’s Healing, told IF: “It’s incredibly sad. Craig was such a great guy, gentle, thoughtful, so good natured and generous. A perfectionist who always went the extra mile and a very smart, sensitive sound designer who was also a musician and had a great musical ear, which fed into his work.”
One of his last projects, PACmen, Luke Walker’s documentary on the inside workings of the controversial Political Action Committees which raise millions to support US political candidates and causes, will have its Australian premiere at the Sydney Film Festival.
Carter started in the sound business at the ABC, working on evening current affairs shows. Among his earliest credits was sound effects editor on George Miller’s Mad Max: Beyond Thunderdome, dialogue editor on Peter Faiman’s Crocodile Dundee, sound editor on Nadia Tass’ Malcolm and Rikky and Pete and supervising sound editor on Fred Schepisi’s A Cry in the Dark.
He won AFI awards for best sound (shared with co-collaborators) for Rabbit-Proof Fence, The Lighthorsemen, Ground Zero and Malcolm.
“Craig, like so many of his generation, travelled a technological path starting on mono 16mm, moving up to 35mm mono, then 35mm stereo, the introduction of 24 track 2 inch machines, the arrival of Digital DAT recordings from set, the first generation of digital multi-tracks on videotape formats and then the arrival of the various digital samplers and digital workstations,” said his long-time friend and colleague, Music and Effects founder Doron Kipen.
“As the technological opportunities arrived Craig's creativity was ready to fill every potential that the new ways of working offered. He recorded his own sound for whatever he needed for a project but I think his trip to record the apes in Rwanda was a job that was really dear to him.
“Craig just wanted to work. With the evolution of new work practices and people working often in isolation at home he did sometimes feel things were not boding well for the industry long term. I regret that we have not had the chance to bottle a little bit of the essence of CC to drip into the ears of would- be sound workers of the future to instil in them the understanding of the unique nature of sound for film.
“I think Craig's passing, way too soon, should be a wake up to everybody in the industry that there is a break in continuity coming and story might just get badly scrambled in the process.”
Director-producer Robert Connolly, who worked with Carter on Barracuda and The Slap, told IF: “He had an exceptional talent as a sound designer and always shared with great enthusiasm the adventure each project presented us. But my fondest conversations with Craig were actually about a million other things, literature particularly, travel, politics, being a father.”
Connolly, who is in Casablanca directing Deep State, Fox Networks Group’s eight-part espionage thriller starring Mark Strong, added, “He brought a renaissance man philosophy to his work, making it fun to be in his company on each project.”
Director Matthew Saville collaborated with Carter on the miniseries Cloudstreet. “I will always remember those 3am ADR sessions Skyping London-based cast during post on Cloudstreet,” he posted on Facebook.
He recalled Carter being silly, tired and adolescent and quoting lines of dialogue from the 1987 British black comedy classic Withnail and I between takes, much to the confusion and chagrin of all those at the other end.
Saville ended his tribute with a quote from Richard E Grant’s Montague Withnail: "The sky is beginning to bruise, and we shall be forced… to CAMP.”
Nadia Tass told IF: “We were very young when we began on Malcolm in 1986. Craig’s creativity and talent in sound design was like a beacon of light, supported by his profound knowledge of literature, history and music.
“I will miss him terribly, both as my wonderful close friend and the brilliant sound designer that he was.”
Tony Ayres, who worked with Carter on the feature Cut Snake and the series Glitch, said from London: "Craig was a dear friend, and incredible talent but most of all, a good man. I'm still reeling from the news of his death. He leaves an incredible legacy of both work and work ethic. More than anyone I knew, he was a perfectionist who went above and beyond to make the work as good as it could be. We are all poorer for him leaving this world.”
Film Victoria CEO Jenni Tosi spoke for many when she said, “Craig's passing is a huge loss to our industry. He was a brilliant sound designer, as his extensive credits show, and who had so much more to give. He will be very much missed by our film and TV community. Our thoughts are with his family and friends at this very sad time.”
Carter is survived by his wife Fiona, daughters Elisa and Charlotte and son Matthew.