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Known For

Scott Martin Gershin is known for:

  • Shrek
    It ain't easy bein' green -- especially if you're a likable (albeit smelly) ogre named Shrek. On a mission to retrieve a gorgeous princess from the clutches of a fire-breathing dragon, Shrek teams up with an unlikely compatriot -- a wisecracking donkey.
  • Gladiator
    In the year 180, the death of emperor Marcus Aurelius throws the Roman Empire into chaos. Maximus is one of the Roman army's most capable and trusted generals and a key advisor to the emperor. As Marcus' devious son Commodus ascends to the throne, Maximus is set to be executed. He escapes, but is captured by slave traders. Renamed Spaniard and forced to become a gladiator, Maximus must battle to the death with other men for the amusement of paying audiences.
  • Kill Bill: Vol. 1
    An assassin is shot by her ruthless employer, Bill, and other members of their assassination circle – but she lives to plot her vengeance.

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Biography

Scott Gershin is an award-winning sound designer who has been active in the film and gaming communities for over two decades. With films such as Pacific Rim, Hellboy 2, Chronicles of Riddick, Team America: World Police, Shrek, Star Trek, and American Beauty, as well as major games including the Gears of War series, Epic Mickey, and the Resident Evil and Fable series, he has garnered an impressive number of awards and nominations. Gershin has studied music since he was 10 years old and could easily be identified as that kid you grew up with who made sound effects and creature noises with his mouth—little did he know it would lead him into a career doing just that. His talent for creating personalities with his voice has been tapped for such memorable movie characters as Flubber, Disney’s Herbie, Reapers in Blade II, the dragon in Shrek, Kirchek in Tarzan, and numerous characters and creatures in Pacific Rim, Hellboy II, Book of Life, and Plants vs. Zombies Heroes, to name a few. After attending Berklee College of Music, Gershin made a name for himself as one of the pioneers of audio technology in film and games. Using what he learned as a synth programmer and recording engineer in the music industry, he was one of the first to utilize computers to edit and design sound against picture. He has embraced technology to better help him tell stories through audio and take audiences on an immersive journey. He feels that he is a bit of a “audio photographer,” capturing the sounds of the world and of life, manipulating those sounds in new and exciting ways, and using those sounds to bring directors' visions to life. In his previous job at Soundelux, where he spent 27 years, he worked as a sound supervisor, sound designer, and founding executive creative director of Soundelux Design Music Group. He also created departments and was creative director at Formosa Interactive and the Soundlab at Technicolor.