Peter F. Kurland

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The Ballad of Buster Scruggs | ShotOnWhat?

Sound Mixer

The Ballad of Buster Scruggs (2018)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Bruno Delbonnel

Edited by: Ethan Coen, Joel Coen

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Studio Camera

Lenses: Fujinon Alura Lenses, Zeiss Master Prime Lenses

Hail, Caesar! | ShotOnWhat?

Production Sound Mixer

Hail, Caesar! (2016)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera

Lenses: Zeiss Master Prime Lenses

Editing System: Adobe Premiere Editing System

Inside Llewyn Davis | ShotOnWhat?

Production Sound Mixer

Inside Llewyn Davis (2013)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Bruno Delbonnel

Edited by: Ethan Coen, Joel Coen

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses

Editing System: Adobe Premiere Editing System, Final Cut Pro Editing System

Men in Black 3 | ShotOnWhat?

Sound Mixer

Men in Black 3 (2012)

Directed by: Barry Sonnenfeld

Cinematography by: Bill Pope

Edited by: Don Zimmerman

Cameras: ARRI ALEXA Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

True Grit | ShotOnWhat?

Production Sound Mixer

True Grit (2010)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 535 B Camera

Lenses: Zeiss Master Prime Lenses

Editing System: Final Cut Pro Editing System

A Serious Man | ShotOnWhat?

Sound Mixer

A Serious Man (2009)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRIFLEX 535 B Camera

Lenses: Zeiss Master Prime Lenses

Editing System: Final Cut Pro Editing System

Burn After Reading | ShotOnWhat?

Sound Mixer

Burn After Reading (2008)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Emmanuel Lubezki

Edited by: Ethan Coen, Joel Coen

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Final Cut Pro Editing System

No Country for Old Men | ShotOnWhat?

Sound Mixer

No Country for Old Men (2007)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera

Lenses: Cooke S4 Lenses, Zeiss Master Prime Lenses

Editing System: Final Cut Pro Editing System

RV | ShotOnWhat?

Production Sound Mixer

RV (2006)

Directed by: Barry Sonnenfeld

Cinematography by: Fred Murphy

Edited by: Kevin Tent

Walk the Line | ShotOnWhat?

Production Sound Mixer

Walk the Line (2005)

Directed by: James Mangold

Cinematography by: Phedon Papamichael

Edited by: Michael McCusker

Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Lenses, Panavision Primo Zooms Spherical Lenses, Panavision Standard Primes (SP) Lenses

The Ladykillers | ShotOnWhat?

Production Sound Mixer

The Ladykillers (2004)

Directed by: Ethan Coen, Joel Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Editing System: Final Cut Pro Editing System

Intolerable Cruelty | ShotOnWhat?

Production Sound Mixer

Intolerable Cruelty (2003)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRIFLEX 535 Camera

Editing System: Final Cut Pro Editing System

Men in Black II | ShotOnWhat?

Production Sound Mixer

Men in Black II (2002)

Directed by: Barry Sonnenfeld

Cinematography by: Greg Gardiner

Edited by: Richard Pearson, Steven Weisberg

Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera

Lenses: Panavision Primo Primes Spherical Lenses

Punch-Drunk Love | ShotOnWhat?

Additional Production Sound Mixer

Punch-Drunk Love (2002)

Directed by: Paul Thomas Anderson

Cinematography by: Robert Elswit

Edited by: Leslie Jones

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

The Man Who Wasn't There | ShotOnWhat?

Production Sound Mixer

The Man Who Wasn't There (2001)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen, Tricia Cooke

Cameras: ARRIFLEX 535 B Camera

Lenses: Cooke S4 Lenses

The Legend of Bagger Vance | ShotOnWhat?

Production Sound Mixer

The Legend of Bagger Vance (2000)

Directed by: Robert Redford

Cinematography by: Michael Ballhaus

Edited by: Hank Corwin

O Brother, Where Art Thou? | ShotOnWhat?

Production Sound Mixer

O Brother, Where Art Thou? (2000)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen, Tricia Cooke

Cameras: ARRIFLEX 535 B Camera

Lenses: Cooke S4 Lenses

Editing System: Final Cut Pro Editing System

Wild Wild West | ShotOnWhat?

Sound Mixer

Wild Wild West (1999)

Directed by: Barry Sonnenfeld

Cinematography by: Michael Ballhaus

Edited by: Jim Miller

Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera, VistaVision Cameras

Lenses: Zeiss Variable Prime VP1 16-30 mm T2.2 Lens, Zeiss Variable Prime VP2 29-60 mm T2.2 Lens, Zeiss Variable Prime VP3 55-150 mm T2.2 Lens

The Big Lebowski | ShotOnWhat?

Boom Operator

The Big Lebowski (1998)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen, Tricia Cooke

Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 535 B Camera

Men in Black | ShotOnWhat?

Production Sound Mixer

Men in Black (1997)

Directed by: Barry Sonnenfeld

Cinematography by: Donald Peterman

Edited by: Jim Miller

Cameras: Beaumont Vista Vision Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses, Panavision Ultra Speed MKII Lenses

Fargo | ShotOnWhat?

Boom Operator

Fargo (1996)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRIFLEX 35 BL4 Camera

Lenses: Zeiss Standard Speed Prime Lenses

The Hudsucker Proxy | ShotOnWhat?

Boom Operator

The Hudsucker Proxy (1994)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Roger Deakins

Edited by: Thom Noble

Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 535 Camera

Lenses: Zeiss Lenses

Oleanna | ShotOnWhat?

Production Sound

Oleanna (1994)

Directed by: David Mamet

Cinematography by: Andrzej Sekula

Edited by: Barbara Tulliver

For Love or Money | ShotOnWhat?

Sound Mixer

For Love or Money (1993)

Directed by: Barry Sonnenfeld

Cinematography by: Oliver Wood

Edited by: Jim Miller

Addams Family Values | ShotOnWhat?

Sound Mixer

Addams Family Values (1993)

Directed by: Barry Sonnenfeld

Cinematography by: Donald Peterman

Edited by: Jim Miller, Arthur Schmidt

The Addams Family | ShotOnWhat?

Sound Mixer

The Addams Family (1991)

Directed by: Barry Sonnenfeld

Cinematography by: Owen Roizman

Edited by: Dede Allen, Jim Miller

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Ernest Goes to Jail | ShotOnWhat?

Boom Operator

Ernest Goes to Jail (1990)

Directed by: John R. Cherry III

Cinematography by: Peter Stein

Edited by: Sharyn L. Ross

Cameras: Panavision Cameras

Miller's Crossing | ShotOnWhat?

Boom Operator

Miller's Crossing (1990)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Barry Sonnenfeld

Edited by: Michael R. Miller

The Abyss | ShotOnWhat?

Underwater Communications

The Abyss (1989)

Directed by: James Cameron

Cinematography by: Mikael Salomon

Edited by: Conrad Buff IV, Joel Goodman, Steven Quale, Howard E. Smith

Cameras: ARRIFLEX 35 BL3 Camera, Panavision System 65 Camera

Raising Arizona | ShotOnWhat?

Boom Operator

Raising Arizona (1987)

Directed by: Joel Coen, Ethan Coen

Cinematography by: Barry Sonnenfeld

Edited by: Michael R. Miller

Hoosiers | ShotOnWhat?

Boom Operator

Hoosiers (1986)

Directed by: David Anspaugh

Cinematography by: Fred Murphy

Edited by: Carroll Timothy O'Meara

Cameras: ARRI Cameras

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