About
New Zealand born. Singapore based. Twenty years standing in the weather.
Ande Schurr is a production sound mixer and sound department head based in Singapore. He records location sound for feature films, high-end television drama and documentary, working across Southeast Asia, Australia and New Zealand.
He was nominated for a 2026 Primetime Emmy for Outstanding Sound Mixing for a Limited or Anthology Series or Movie, for Lord of the Flies (BBC / Netflix), filmed over four months in the rainforest of Langkawi, Malaysia.
Other work includes Monkey Man for Universal Pictures, directed by Dev Patel and shot across Indonesia and Mumbai; Mr Midnight, Netflix's first Singapore original series; Hunt for the Wilderpeople for Taika Waititi; and documentary for the BBC, Netflix and Animal Planet across six continents.
Singapore is my base, and it is a deliberate choice. Every major production centre in Southeast Asia is one to three hours away, which means I can have a full drama package on set in Kuala Lumpur, Jakarta, Bangkok or Ho Chi Minh City the day after a call.
As a New Zealand citizen I also hold the automatic right to work in New Zealand and, under the Trans-Tasman arrangement, in Australia. No sponsorship, no visa application, no immigration cost to a production.
I work regularly in Singapore, Malaysia, Indonesia, Thailand, Vietnam, Australia and New Zealand.
The short version is that I do not fight the location.
Most of the difficult work in production sound is not technical. It is deciding, quickly and under pressure, which battles are worth having with the camera department and which are not. A waterfall usually needs to be in the shot. A generator usually does not. Knowing the difference, and raising it in the right tone at the right moment, is most of the job.
The rest is preparation that nobody sees: frequency plans scanned before the day, rigs rebuilt for the fourth time because the costume changed, wild track libraries recorded at weekends so post has a world to work with rather than a problem to solve.
I write about this in Field Notes, mostly for producers deciding how to schedule a location and for crew wondering how somebody else solved the same thing.
Sound is not a solo job on anything larger than a documentary. I work as head of department with boom operators and sound utilities I have built long relationships with, particularly across Indonesia and Malaysia, and a great deal of what ends up on the track is theirs.
On Lord of the Flies, my boom was Adyt Santoso and utilities was Reza Feryanto, across four months of rainforest.
I contract through Schurr Productions Pte. Ltd., a Singapore-registered company. My equipment and liability are insured worldwide, with certificates available for production insurance requirements. I handle invoicing, deal memos and paperwork the day the deal lands rather than the week after the shoot.
My equipment package is also available for dry hire to visiting mixers and productions.
Bios of varying lengths, high resolution stills and credit details are in the press kit. For anything not in there, email me directly and I will answer the same day.
Dates, location, format. That is enough to know whether this is a fit.