RealTime

David Miscavige knows what he wants. He’s got great ears, great sensibilities, great visual acuity. He’s got it all. Tim Boyle

Video Transcript:

My name’s Tim Boyle. I’m the Senior Mixer, which means I mix the properties that—for the Church of Scientology. It’s—we have a lot of movies and a lot of PSAs and things and I’m responsible for the final mixes. And I’ve been here for twelve years, almost twelve years, and I’m, I’m just basically responsible for a final product before it goes out.

There was two things I found when I got here, number one that L. Ron Hubbard knew more about audio and filmmaking than just about anyone I ever knew. Which was stunning because I was sort of like one of the leading guys in the world about making movies, making music, recording.

And what I’ve read from L. Ron Hubbard is he knew as much as I did, plus everything else he ever did in his life. And it, it amazes me. Now, Mr. Miscavige, who I met as “Dave” when I first got here, we have a mutual friend. And it was just sort of, we bumped into each other on the lot and it was a wave and a “Hi” and a “How are you?” and “Where’d you go to high school?” and so on and so forth. And I found him to be very friendly, very, very down to Earth, very human.

There are a couple of directors I’ve worked for in Hollywood, like, you take, for example, the Simon Wincers or you take Steven Spielberg or you take, oh, Jim Cameron. And you take any those guys, who I’ve all—I’ve worked for them. The reason I enjoy working with those specific people is because they, they know exactly what they want. There’s no hemming and hawing. There’s no, “uhhhh,” there’s—they just know. “Yes, that’s right, good. Next, move on. Next, move on.” That’s exactly what I get from Mr. Miscavige.

I remember when I first started, became Senior Mixer here. I would have to submit a product to his, you know, judgment, to his approval, with a note. And I always took the opportunity to write him a note. And my notes were sort of legion in their content, and he liked hearing from me. He would always respond completely to every point I ever brought up. He absolutely, if he loved it, he would tell you he loved it. I’ve gotten compliments. I’ve received various praise from him that—commendations. He actually said to me one time, and this—he said, “You know I want you to take, to take on the role of Senior Mixer because you know more about what that is and what we are looking for than I will ever know.” And for someone in that position to actually tell, tell you that he is dependent upon you and that he trusts you to that level, it doesn’t get any better. It just was a complete affirmation of what I do and I really appreciated that. So, no, he’s very complimentary. Very. Very.

There was also another little episode where I wrote COB a note, an approval note. We call them CSWs. And I had written my little data about it. And I mentioned that we had this extraordinary, extraordinarily big musical video that we produced. And I wanted to get across to him that I knew this was going to make him happy and absolutely rock the theater where the event was going to be. And the, the name of the venue was the Ruth Eckerd Hall and it’s in Clearwater, Florida. And I told him that we will definitely rock the house that Ruth built, being a reference to the New York Yankees and Babe Ruth.

And he came back with some—he just loved that comment, thought it was very funny. Commented on it, you know, said—and you know, actually, it was just kind of a flattering thing but he has actually taken some of the things that I’ve written to him and used them.

He, he wrote me back one time and said, “You know, I really like that line that you’re using about something. Would you mind if I borrowed your line?” I was like, oh, does that make me a published author? I’m mean I’m really, I was so flattered.

COB, if he finds something good, something stellar, something right, something that is above average, he can pick it out like this and he knows exactly, he knows exactly what to listen for. His listening skills are acute. His, his ability to judge the quality of audio-visual products is as good as any director I’ve ever—in fact, I’ve always said, you know, I would love to work on a project that he was the producer of. And in a way, I guess that’s what it is every day. But you know what I’m, you get what I’m saying.

I love working with the man. He knows what he wants. He’s got great ears, great sensibilities, great visual acuity. He’s got it all. And it’s—it’s just a joy being around him and working for him.