MPSE Wavelength

Fall 2020

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that the sound work becomes a real-life experience. In that way, starting this film in the noisy Parisian disorder and to end it mixing in the silence of the Mexican mountains made so much sense. Carlos Reygadas had put together a great mixing team for us. A first pass with Carlos Cortes, the in- house mixer at Splendor, and then a final mix pass with Jaime Baksht and Michelle Couttolenc. These last two work in an original way. They had asked us to process very little dialogue tracks—which was not to displease Carolina who was adept at the long and precise work done in pencil on Pro Tools. As a result, the dialogue work on iZotope RX was only done surgically on the final mix phase to minimize the use of treatments as much as possible. Michelle has an incredible knowledge of all the finer points of processing possible in the iZotope RX. We connected with Jaime artistically straight away. I like this generation of mixers who have also known mixing on 35mm film tapes. They have kept the taste for performance and dynamic work over long periods. Jaime mixes very wide for a European ear like mine. But I was very quickly charmed by the rendering for the film. The mixing was a very pleasant moment. We were in a heavenly place with great professionals and the film sounded good. A few last notes and the mixing ended with a lot of satisfaction. Working on this film was one of the most interesting experiences of my career. This is no small part due to the nature of the project and the incredible talent of Darius, who knew how to instil so much positive energy and make everyone work together so well. It should also not be forgotten that all this was made possible thanks to the support of the producer who accompanied the director during the whole production process. I would like to thank Sacha Ben Harroche who has always been an enthusiastic and attentive producer. This experience has encouraged me in my quest to always try to question my habits in order to push the boundaries and continue to experiment. "I think the cognitive and physiological aspect of the sound is often underestimated. We think so much about storytelling, clarity, time, and space information. But I'm also interested by complexity, opacity, body memory, sensations, and confusion. "

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