‘First Man’ Sound Editors Capture Neil Armstrong’s Journey To The Moon With Authentic, Evocative Palette
After collaborating with Damien Chazelle on La La Land to the tune of three Oscar nominations, sound editors Ai-Ling Lee and Mildred Morgan embarked on a transformative odyssey with First Man, which defied their preconceptions of how sound might manifest in a big-budget space drama. Scripted by Josh Singer, Chazelle's latest would dive into the psychology and potently immersive experiences of Neil Armstrong, the first man to step foot on the moon.
Knowing the degree to… Read
Motion Picture Sound Editors Cue Up Stephen H. Flick For Career Honor
The Motion Picture Sound Editors has set supervising sound editor Stephen H. Flick to receive of its 2018 MPSE Career Achievement Award. The honor will be presented February 17 during the 66th annual MPSE Golden Reel Awards in Los Angeles.
A two-time Sound Editing Oscar winner for Speed (1995) and Robocop (1988) — the latter being a Special Academy Award — Flick has worked on more than 150 films and TV shows over four decades. He also scored Oscar noms for Poltergeist, Die… Read
‘A Quiet Place’ Sound Editors Discuss Their Moments Of Creative Doubt & Vindication — Production Value Video Series
On examination of those behind the filmic curtain—creating the sonic palette through which to feel a world—any number of descriptors seem to apply. Magicians, wizards and puppet masters who have trained themselves in the art of emotional manipulation, sound editors are too often among those craftsmen and women taken for granted, when the reality is that no film could function, or pull the audience in toward the screen, without their dedicated, passionate work. The… Read
‘Altered Carbon’ Sound Editor Brett Hinton On Sonic Clues Taken From Richard K. Morgan’s Sci-Fi Novel
For supervising sound editor Brett Hinton—a bona fide world builder behind Mr. Mercedes, Westworld and Laeta Kalogridis' cyberpunk wonder Altered Carbon—God is in the details.
With the latter series, Hinton brought life to the dystopian megalopolis of Bay City, as seen in the year 2384. His take on the future was carefully considered, and the most minute details were often those that were most difficult to render. Adapted from Richard K. Morgan's meticulously crafted 2002… Read
‘The Shape Of Water’ Sound Teams On The Sonic Dimension To Creature Creation
Elegantly designed and impeccably shot, Guillermo del Toro's The Shape of Water would need a strong, immersive sonic experience to cross the finish line, ending up as it did with 13 Oscar nominations in the strongest showing for any film this year.
Set primarily within 1960s Baltimore laboratories, this romantic fantasy between a fish-man and a mute janitor would require not only period accuracy in its depiction of its central locations, but also a believable… Read
Sound Designer Julian Slater On His “Lightning In A Bottle” Moment With Sound-Centric ‘Baby Driver’
In Baby Driver, his fifth collaboration with writer-director Edgar Wright, sound designer Julian Slater found perhaps the greatest challenge of his career that was also his greatest opportunity: a cinematic vehicle that was all about sound.
Ever since 2004's Shaun of the Dead, Slater had become accustomed to Wright's desires to push boundaries with cinema, with awe-inspiring images and the sound to back them up. In Baby Driver—a film where sound is a character in its own… Read