Sound Designers
Interviews - Sound Designers
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Revolutionary Sounds: Sound Editor Christopher Scarabosio on “One Battle After Another”
Teyana Taylor, unnamed infant and Leonardo DiCaprio in One Battle After Another
Christopher Scarabosio only needed 15 minutes to start dreaming. The supervising sound editor and re-recording mixer was jet-lagged, drifting between trips to London, when writer-director Paul Thomas Anderson asked him to watch the first hour of One Battle After Another.… Read more
Analog Fetishism: Sound Designer Graham Reznick on “Rabbit Trap”
Jade Croot in Rabbit Trap
What does the sublime sound like? For Graham Reznick, serving as the sound designer for Bryn Chaney’s psychological thriller Rabbit Trap (available on digital Sept. 30, from Magnolia Pictures) was a sustained exercise in experimenting with aural narrative storytelling, searching… Read more
Silences and Explosions: James Harrison and Paul Cotterel on Crafting Blitz‘s Sound
Saoirse Ronan in Blitz
At the beginning of Blitz, London is on fire. Against a night sky striated by German bombs, flames engulf obliterated city streets and brick buildings. A platoon of firemen scramble through dense smoke and charred remains to control an errant… Read more
Sounds that Cannot Be Unheard: Sound Designer Johnnie Burn on The Zone of Interest
Christian Friedel in The Zone of Interest
When director Jonathan Glazer first pitched Johnnie Burn his dramatic vision for The Zone of Interest, the sound designer took a deep breath. Over the past two decades, the pair had developed a strong rapport, collaborating on a variety of… Read more
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Within the Silences: The Sound Team Behind TÁR
TÁR opens with its namesake, played by Cate Blanchett, being interviewed in front of a packed audience at The New Yorker Festival. The chat serves multiple functions. It delivers the character’s backstory as an EGOT-winning classical composer and conductor, establishes the film’s immersive, observational style and lets the viewer experience sound the way that Lydia Tár experiences it. During the interview, the festival’s audience is only heard as a communal mass. It laughs together. It applauds together. There is no ambient chatter, no whispered asides, no rustling clothes or shuffling feet. It’s only when the interviewer asks about the influence […]
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In the Quiet Moments: The Memoria Sound Team of Akritchalerm Kalayanamitr, Richard Hocks and Javier Umpierrez
“When I work on sound for Joe’s films, it’s very similar to meditation,” says Akritchalerm Kalayanamitr, sound designer for all of Apichatpong Weerasethakul’s work since Tropical Malady (2004), including his latest picture, Memoria. “I need to be super focused on every detail. Because it’s like meditating when you watch them, we need to mix the film in a kind of line”— here, on a Zoom call, he makes a slow, horizontal motion with his right hand—“so it’s not too much.” Despite the fact that sections of Memoria, which is about a Scottish woman in Colombia attempting to understand mysterious explosions […]
