Issue link: http://digital.copcomm.com/i/1259912
28 S P R I N G 2 0 2 0 C A S Q U A R T E R L Y serious it was that they get the cars right. "This is a historical piece. There are tons of racing fans out there and we wanted to be true to the story and help and support the story. So, we did find those cars and utilize an actual GT40 with the 427 [engine]. Also, Foley is very important to [Mangold]." Foley mixer Richard Duarte couldn't agree more, "He has a strong sense of what he would like to hear in specific scenes and why. For example, in the pit stop scenes, there was strong communication about what [Mangold] wanted the break assembly and the tires to sound like. That kind of direction before we record the material helps us focus on what the director needs and wants to hear." Duarte also mentions the unique aspect of working on a historical film. "One of the challenges was getting the hands on the GT40 race car to sound appropriate. Since the body panels of the car were a form of fiberglass on a metal frame, the hands on the hood, doors, and car body could not just sound like any old metal car." But like everyone else on this film, Duarte couldn't be prouder of his work and the finished film, and lists it as one of his proudest career achievements. Duarte echoes what Massey and Giammarco have said, that "it is slightly easier working with a team who has experience working together, simply because a level of trust has already been established." Massey relied heavily on the various members of the team who helped lay down all the possible ADR. He prepped the final mix with both options—production audio and ADR— to give Mangold the choice to hear either option. Due to the locations and proximity to loud engines, a lot of ADR was recorded for the film. ADR mixer David Betancourt explains that "even if our supervising sound editor felt some lines would be clean, we still did them to be safe." In the end, Massey says, "We used a surprisingly large amount of production [audio] because once the scenes were properly balanced, the car engines weren't such a concern." Betancourt, also a seasoned vet of Mangold films, who first worked with the director on 2007's Walk the Line, sings the director's praises. "Jim pushes everyone in his crew to be at their best. And he encourages you to think outside the box. It's also refreshing to work with a director that has a clear vision of what he wants. I think as awesome as our technology is, it's very easy to second-guess yourself because of all the choices you have. Jim is very decisive through the entire process." Clearly, Mangold has created an amazing environment that truly allows for everyone to work at the highest level. Betancourt even got to play around and try some new, unorthodox methods for recording ADR with the lav mics. "I noticed by feeding the lav back to itself slightly made it sound a little dirtier and more piercing and a lot less like ADR." Having the opportunity and time to try new things is what Betancourt says "makes this job so enjoyable. The fact that we're always learning and trying to make things better." One of the most novel things about this industry is the fact that every project and, usually, every day is unique and brings with it new challenges and problems that need new solutions. Massey believes that "you always learn something on every single project, and you definitely do when you're working with Jim." Ford v Ferrari was a one-of-a- kind movie that created many people's favorite working experience. The attention to detail and the commitment to making a historically accurate, yet exciting movie that audiences would get immersed in is apparent in every scene. The performances aren't hidden, it's a perfect blend of dialogue, music, and effects. Mangold truly brought together a top-notch team and trusted them to help achieve his vision for the film. Not only did the sound team win the 56th Annual CAS Award for Best Sound Mixing for Motion Pictures – Live Action, but the film was nominated for the Oscar for Best Sound Mixing as well. A huge congratulations to every member of the sound team on this incredible film! ADR." Having the opportunity and Richard Duarte every scene. The performances aren't David Betancourt