MPSE Wavelength

Summer 2020

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M OT I O N P I CTU R E S O U N D E D I TO R S I 47 the viewer experiences it much the same way it sounded in real life. It needs to be authentic. The creative team and I agreed early on that this was the best approach. Real people lost their lives, families are still in mourning, and we needed to honor and be respectful of that. EM: Was this the first limited documentary series you'd worked on for Netflix? JG: Yes. I've done feature-length documentaries for Netflix (Mitt, A Plastic Ocean), but this was the first series. EM: What were your initial creative conversations like with the team on the show? JG: One of the things supervising picture editor Will Znidaric and I discussed early on was one of the through lines of the series. "Did the repeated blows to Aaron Hernandez's head during his playing career play a role in his becoming a murderer?" Though the answer is up for debate, I think this is why Killer Inside struck a chord with viewers. How much do repeated blows to the head affect you? The recent scientific studies regarding CTE (Chronic Traumatic Encephalopathy) are pretty conclusive. The follow-up question we have to ask ourselves is, are we as a society, OK with this? We talked about how sound can help convey TBI (Traumatic Brain Injury). What does that sound like from an artistic standpoint? I spent a good number of days thinking about this. Many of the biggest on- screen hits were rendered in slow motion. Maybe it's the sound of violent impact, like a helmet slowly crinkling? What we ended up with was actually something much more interpretive. One of my sound design tools is Native Instruments

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