Home > Faculty > David Macmillan

David Macmillan


David Macmillan has mixed sound for more than 45 years. He served an apprenticeship with the Canadian Broadcasting Corporation, a three-year program he completed in just a little more than a year. By the age of 24 he was recording series TV, news and documentaries. In the summer of 1968, he recorded two documentaries, one in the San Francisco and one Napa Valley. He left the CBC in December 1968, and was fortunate to meet filmmaker Francis Ford Coppola, whose film studio, American Zoetrope, was being built in San Francisco at the time. Coppola asked Macmillan to install the company’s mixing facility.

After three years with American Zoetrope as the in-house dubbing mixer, Macmillan chose to get back into production sound. With experience in both post and production sound he was able to become one of the top production mixers in the entertainment industry.

His work on The Right Stuff earned him the first of three Academy Awards, in 1984. He moved to Los Angeles the following year to accommodate all the work that was coming his way.

Today, Macmillan has more than 80 feature films to his credit, including Speed, for which he won his second Oscar, in 1995, Apollo 13 (his third Oscar, in 1996) and Twilight. For the past five years he has been giving master classes and sound workshops at the UCLA School of Theater, Film and Television, USC, Chapman University and Loyola Marymount University. He has also given his master classes at Targawa Film Festival in Lodz, Poland; the Transatlantic Film and Music Festival in Poznan, Poland; and FEST in Espinho, Portugal. He has also conducted two-day sound mixing workshops in England and Norway.

Macmillan is a member of the Cinema Audio Society and the Academy of Motion Pictures Arts and Sciences.


Home > Faculty > Timothy A. Good


Visiting Assistant Professor

Tim Good, A.C.E., is a film and television editor who began his professional career under the apprenticeship of veteran editors Ray Lovejoy (2001: A Space Odyssey, The Shining, Aliens) and editor/professor/director Norman Buckley, A.C.E. He later edited such television series as The O.C., Gossip Girl and Fringe.

In 2013, Good edited the pilot and five episodes of the first season of Steven Spielberg’s and Stephen King’s CBS summer series Under the Dome. That same year, he co-edited his first feature film, Dead Man Down, helmed by Danish director Niels Arden Oplev (The Girl With the Dragon Tattoo). Good was also a co-producer on Alfonso Cuarón and J.J. Abrams’ Believe, an NBC midseason TV series, which premiered in 2014.

Born and raised in Chicago, Good is a graduate of Northwestern University and has been inducted into the American Cinema Editors, an honorary society of elite editors in the industry. He has taught at the UCLA School of Theater, Film and Television since 2008.


Home > Faculty > Nancy Richardson

Nancy Richardson


Nancy Richardson

Nancy Richardson has been teaching at the UCLA School of Theater, Film and Television, where she is a tenured professor, and where she received her M.F.A. after obtaining her undergraduate degree from UC Berkeley, since 1996.

Her career as a film editor began after working several years as a struggling screenwriter and director. Her first editing feature was Stand and Deliver (1988), for which Edward James Olmos received a Best Actor Academy Award nomination. This was followed by To Sleep With Anger (1990), for director Charles Burnett, which won a Special Jury Award at the Sundance Film Festival in 1990. She went on to collaborate with Burnett on two more films, The Annihilation of Fish (1999) and Selma, Lord, Selma (1999). She also worked with director Gregory Nava on three films: Mi Familia (1995), Selena (1997) and Why Do Fools Fall in Love (1998). Richardson edited Maya Angelou’s directorial debut, Miramax’s Down in the Delta (1998), and the Showtime film Hendrix (2000), for which she received an Emmy Award nomination. She is very proud of her beginnings in independent film, and is especially proud to have a body of work that is characterized by diversity.

Richardson has worked with many women directors. Thirteen was her first collaboration with Catherine Hardwicke, who won the Sundance Best Director Award for the film in 2003. They went on to work together on Lords of Dogtown (2005), Twilight (2008) and Red Riding Hood (2011). Richardson edited the original Step Up, the surprise hit of 2006, for director Anne Fletcher. Other credits include The Last Song (2010), for director Julie Anne Robinson; Love the Coopers (2015) for director Jessie Nelson; and most recently, the MGM-Warner Bros. film Everything, Everything (2017) for director Stella Meghie.

She has also edited a number of high-profile studio films and box-office hits including The Twilight Saga: Eclipse (2010), The Vow (2012), Carrie (2013), Divergent (2014) and its sequel, Insurgent (2015). One of her favorite collaborations was with director Jonathan Levine on the romantic zombie movie Warm Bodies (2013). She is currently editing director Stephen Mercant’s Fighting With My Family, starring Dwayne Johnson and Lena Headey, set for a 2018 release.

Richardson is a member of American Cinema Editors and the Academy of Motion Picture Arts and Sciences, where she has been on the executive Board of the Editor Branch for six years. She has served on the Editors Guild Board of Directors for 19 years.

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Home > Faculty > Cecilia Hall

Cecilia Hall


Cecilia Hall is a senior vice president of postproduction sound at Paramount Studios. Hall was the first woman nominated for an Academy Award for Best Sound FX Editing in 1987, for her work on Top Gun. She won the Academy Award for Best Sound FX Editing for The Hunt for Red October in 1991. Other credits include Witness; the first three films in the original Star Trek feature film series; Beverly Hills Cop and Beverly Hills Cop II; Terms of Endearment; and The Addams Family and Addams Family Values. Hall has been nominated for numerous MPSE Golden Reel Awards, and she won the Golden Reel Award for Something So Right and Top Gun. She served on the Executive Branch of the Academy of Motion Picture Arts and Sciences and on the Board of the Motion Picture Sound Editors, and was the first woman elected president of that organization in 1984.