Sound design

and any number of people, including Rebecca. We should talk about the sound mix here because it's just extraordinary. It kind of rocks the theater when you're inside a cinema watching. Yeah, our sound team, this actually, there was a lot of time and effort that went into this, and then it was really only on the very last day when we took the sound design apart and put it back together again. There had been a lot of notes and thoughts and rules, and we finally just went down and picked specific sounds

14:50 · jump to transcript →

And then the most important part was to mix in a level of bass so that you actually feel the storm. Yeah, so if you're watching this at home, your subwoofer will be getting a very good workout in this little bit of the movie. Although we now go into much more subjective, dreamy sound design here. And we played with the end of this sequence, how it would end and where the credits would fall in the beginning of the movie many, many times. And finally settled on this. I love the dissolve here as well because...

15:19 · jump to transcript →

Yeah, because we wanted the desert to have a win in it. Yes, well, we knew that if you went into the credits believing that she had died and withheld it all the way to Rome, which is what we originally did. Yeah, a good hour into the movie, yeah. It affected the entire tone of the airport. Yeah. So we knew you had to reveal this somewhere else. Yeah. And we went full circle. We threw the idea out, and in the very last week of editing, the idea came back. And a lot of this is told through sound design. This is actually shot on the back lot.

24:28 · jump to transcript →

Edward Berger

the sewing machines are actually, they're actually machine gun fire. But as you put, as you see a sewing machine, you kind of think it's a sewing machine, but it is, I promise you, the sound effect is an actual machine gun. Again, a metaphor for the war machine. Oh, a very interesting

7:44 · jump to transcript →

Edward Berger

thing also is another sound you heard that muffled sound when the kid Heinrich Gerber was diving behind the tree trunk our sound designer Frank Kruse he actually dragged microphones through the mud again to create a metaphor in terms of this is Prague by the way we shot this in Prague standing in for northern Germany Prague is a great city to shoot in felt very welcomed

8:08 · jump to transcript →

Edward Berger

But again, it felt to us that it's important to get these sequences in one shot without editing too much. I'll later tell you a little bit about editing. But what I wanted to finish was the sound effect that Frank used, the sound recording he used when Heinrich Gerber in the beginning dives behind the tree. And you have this...

10:25 · jump to transcript →

I think with the music and the sound effects, we just about get it to work the way it needs to, but it was tough. That spindle is the thread that Björk is spinning there with her distaff, suggestive of Alex's thread of fate.

38:48 · jump to transcript →

Finnr's nose, or his lack of nose, probably looks the best in this scene. So I wanted to only hear the hallucinations and not see them. I don't know if that was the best choice, but the sound design

1:25:40 · jump to transcript →

The sound design is too loud of Alex's background action there, but it's good because you get to read it, so it makes sense. Tiny bit of comedy. The cub you once hunted ate of your nose. Now the wolf has grown.

1:56:25 · jump to transcript →

No, no. No. Nope. It's hard for me. I love this. Yeah, the bug sounds are so good. Where did those come from? Did we have those in the edit, or did you do that in sound design? I don't remember. I think we might have replaced them in sound design. I think I did the bug sounds. I was just going to say, it sounds like a noise you would make. I mean, real.

1:04:57 · jump to transcript →

I love the shelter of the leaf. In the sound mix, I remember it was, I love this moment. In the sound mix, it was hard not to just, like, listen, just, like, relax. I'm like, what? Because the sound of that would be like, I have this rain sound. And it's like, pitter-patter, pitter-patter.

1:05:25 · jump to transcript →

Nia DaCosta

Okay, that was, like, one of my favorite parts of the movie. That sound effect when he, like, sends his soul up to whatever. I'd asked Jack, I was like, "Jack, can you do something when he dies? "Like, you take his soul and put it somewhere, "you know, you're, like, giving his soul a rest." And so he did that, which is hilarious. And then when we turned around on Mo, they looked up to where Jimmy had been putting his soul or whatever, and I thought it was, like, the funniest thing ever. So I was really excited to see that little note I gave turn into something really, really fun in the final product. Howzat? - Howzat.

6:05 · jump to transcript →