Making the Met Gala in Ocean’s 8 Sound as Cool as it Looks
There are few things more frustrating to a moviegoer than missing a line of dialogue. Scripts have been carefully crafted to tell a story in merely a few hours making nearly every word vital to the plot. If you can’t hear what is said, you could miss something important. Particularly in the dialogue heavy Ocean’s ...
Ten-Time Daytime Emmy Nominee Sound Editor & Mixer Sean W. Karp on Dinosaur Roars, Dialogue & More
Ten-time daytime Emmy nominee Sean W. Karp is the sound-mixer and editor at Sinking Ship Productions, one of the most prolific production houses in children’s programming, including the series Annedroids, Dino Dana and Odd Squad. Karp began as a musician, playing for bands throughout Toronto throughout the early 90’s. In an interview, he explained the ...
How A Quiet Place Sound Designers Made Audiences Afraid of Their Own Noise
There are rules to the monster invasion in A Quiet Place and you must learn them quickly to survive. The movie’s characters have had over a year to observe the creatures, but the audience is gifted only a few precious minutes to learn before the first attack. The predators are blind, but they hear everything. ...
Baby Driver’s Oscar-Nominated Supervising Sound Editor Dissects the Movie’s Unique Syncopated Style
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, while publishing new interviews throughout the week. Baby Driver sound editor Julian Slater is nominated alongside his collaborators Tim Cavagin and Mary H. Ellis. They’re up against Ron Bartlett, Doug Hemphill & Mac Ruth (Blade Runner 2049), Mark Weingarten, Greg Landaker & ...
Love & Other Illusions: How Blade Runner 2049‘s Oscar-Nominated Sound Designer Played With our Heart Strings
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Sound editor Theo Green is nominated alongside his Blade Runner 2049 collaborator Mark Mangini. The Sound Editing category includes Julian Slater (Baby Driver), Richard King & Alex Gibson (Dunkirk), Nathan ...
How Blade Runner 2049’s Oscar-Nominated Sound Designer Pulled no Punches
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Sound editor Theo Green is nominated alongside his Blade Runner 2049 collaborator Mark Mangini. The Sound Editing category includes Julian Slater (Baby Driver), Richard King & Alex Gibson (Dunkirk), ...
Replicant vs. Replicant: How Blade Runner 2049’s Oscar-Nominated Sound Designer Pulled no Punches
K. vs. Sapper It’s a mismatch. One replicant is 6’0” and slender. The other is a goliath, standing at 6’3” and weighing 290lbs. They’re all alone in a creaky cabin on a distant, desolate protein farm, and they know they are about to have at it. The slender replicant, Officer K (Ryan Gosling), is there ...
Oscar-Nominated Blade Runner 2049 Sound Mixing Team on the Power of Silence
As part of our Oscars week coverage, we’re posting our conversation with some of this year’s nominees. Doug Hemphill and Ron Bartlett are nominated for Sound Mixing, alongside Mac Ruth (Blade Runner:2049); Julian Slater, Tim Cavagin, and Mary Ellis (Baby Driver); Gregg Landaker, Gary A. Rizzo, and Mark Weingarten (Dunkirk); Christian Cooke, Brad Zoern and ...
A Peek Inside the Baby Driver Sound Editing Bay
We recently spoke with Julian Slater who provided the sound design, editing, and mixing for Baby Driver. In conjunction with the amazing work of Oscar nominated editor, Paul Machliss, Baby Driver was one of the most stunning films of the year. Slater has since scored two Oscar nominations for his epic feat that synched the ...
Oscar Watch: Baby Driver’s Supervising Sound Editor Dissects the Movie’s Unique Syncopated Style
As a contingency for speaking with me about his work on Baby Driver, supervising sound editor, sound designer, and re-recording mixer, Julian Slater, made me promise two things: watch it on a really good system and turn up the volume. After running a check on my speakers and ensuring my neighbors were out for the day, ...
Oscar Watch: How The Post‘s Sound Designer Re-created 1971 Newsroom Hustle & Bustle
Gary Rydstrom has won four Oscar awards with his ingenious sound design, but none of that expertise prepared the veteran audio expert for the mundane obstacle he overcame to re-create the sonic tumult of the Washington Post newsroom circa 1971. Steven Spielberg’s The Post casts Meryl Streep and Tom Hanks as publisher Kay Graham and ...
Love & Other Illusions: How Blade Runner 2049‘s Sound Designer Played With our Heart Strings
*We’re sharing some of our favorite interviews of the year this week in our ‘Best of 2017’ roundup. For part one of our interview with Blade Runner 2049 sound designer Theo Green, click here. One of Blade Runner 2049’s most inspired characters is Joi (Ana de Armas), the holographic love interest of Officer K (Ryan Gosling). Joi is, ...
Love & Other Illusions: How Blade Runner 2049‘s Sound Designer Played With our Heart Strings
For part one of our interview with Blade Runner 2049 sound designer Theo Green, click here. One of Blade Runner 2049’s most inspired characters is Joi (Ana de Armas), the holographic love interest of Officer K (Ryan Gosling). Joi is, in the strictest of senses, a product, one produced by the Wallace Corp (lead by the film’s villain, ...
Replicant vs. Replicant: How Blade Runner 2049’s Sound Designer Pulled no Punches
K. vs. Sapper It’s a mismatch. One replicant is 6’0” and slender. The other is a goliath, standing at 6’3” and weighing 290lbs. They’re all alone in a creaky cabin on a distant, desolate protein farm, and they know they are about to have at it. The slender replicant, Officer K (Ryan Gosling), is there ...
How Destiny Called Gotham‘s Emmy-Nominated Sound Editor
Emmy season is in the air, and fan-favorite Gotham has certainly not disappointed, racking up three nominations this year alone. The series is no stranger to Emmy nominations either; this is the third year in a row that the show has been recognized for its sound editing. Destiny Calling was the episode put forward for ...
The Brilliant Sound Technique That Makes Dunkirk so Viscerally Intense
We’ve written quite a bit about Christopher Nolan’s Dunkirk, specifically about the film’s boundary pushing technical brilliance. We explained to you why it matters that the film was shot in 70-mm (and how it affects your movie-going experience), and we wrote about how Nolan and his team’s use of IMAX cameras helped tell one of ...
Celebrating Reel Women: Behind the Scenes
Women are responsible for some of the most powerful, thrilling and poignant films in the canon. From Moonlight to Mad Max: Fury Road, women are making their impact felt in all aspects of the filmmaking process, and today we look at their crucial contributions in a few specific roles, including as editors, costume designers, sound editors and production designers. ...
Our Complete 2017 Oscars Coverage
And here it is, the complete guide to our 2017 Oscars coverage. Our annual "Know Your Nominee" series once again looks at every category, giving you the information you need to conquer your Oscars pool. Learn more about the nominees for Lead Actor, Foreign Language Film, Costume Designers, Documentary Short, Editing, Live Action Short, Actress in a Supporting Role, Makeup & Hairstyling, Animated Feature, Documentary ...
Know Your 2017 Oscar Nominees: Sound Editing & Sound Mixing
We’ve gone big for our Oscars coverage this year. Our annual "Know Your Nominee" series once again looks at every category, giving you the information you need to conquer your Oscars pool. Learn more about the nominees for Lead Actor, Foreign Language Film, Costume Designers, Documentary Short, Editing, Live Action Short, Actress in a Supporting Role, Makeup & Hairstyling, Animated Feature, Documentary Feature, Original Song, Visual ...
Oscar Watch: Deepwater Horizon’s Sound Editor on Capturing Chaos
Sound editor Wylie Stateman’s first Oscar nomination came in 1990 for his work on Oliver Stone’s Born on the Fourth of July. Seven more nominations followed. Stateman has been recognized by the Academy for his work on films ranging from alpine action-adventure stories to period pierces to war films. Cliffhanger, Memoirs of a Geisha, Wanted, ...
