Issue link: http://digital.copcomm.com/i/1316380
M OT I O N P I CTU R E S O U N D E D I TO R S I 41 M OT I O N P I CTU R E S O U N D E D I TO R S I 41 locations and props as characters in the story. I like to fi nd natural and organic ways to enhance a sound to bring emphasis to telling the story. MATTHEW: Sound for the Trek universe has a very storied history and one that is fi rmly established. As you know, this series is set later in Picard's lifetime so that allows some fl exibility to create new material but also honor the established sonic canon. This particular series focused not only on creating new tech but also on establishing the psychological spaces of our characters and introducing Romulan language and culture to the canon. Not to mention, we were able to further develop the sound of Borg technology and artifi cial life. BENJAMIN: I treat them more like a fi lm than a TV show. I typically start building at script level. I try to get involved very early and start bouncing ideas and start talking about things as early as possible. Give us more time to refi ne what they are looking for and a more personalized experience for everybody. WILL: One of the reasons the show sounds so good is because of the choices that the Duffer Brothers make building the show and what they let us do. I mean they really let us run wild creatively … crazy and out-of-the-box creative as possible. CRAIG: That's been the way since the beginning. They've just always been that way and sometimes you think … music is sound design and sometimes sound design and editorial, it's actually music. There's always been a great play off of what Michael and Kyle, our composers, do. It's really the Duffers' vision and their ideas. And sometimes it's just as easy as like—think about "this"... and they let me run with that from a sound design standpoint. You got two guys (Duffer Brothers) behind you as directors that are just like "in it." They really know how much sound brings to a story. PAULETTE: It takes an "editorial village" to make a show. What can you say about your team? LEE: I have a fantastic team who I have been working with for a number of years, including Andy Kennedy and Saoirse Christopherson. This continuity means we know each other's strengths and can really focus our energies to ensure we use outlet resources to create the best track we can for each show. WADE: Every member of the Formosa sound team on this show stepped up to the plate 110 percent. It was a very demanding show, and especially since it was the fi rst season and we had a lot of sounds to establish, everyone really had to step up and grind to get it done properly. NICK: My team is awesome. Most of them have been working with me since Breaking Bad. Kathryn Madsen is my ADR and co-supervisor. She handles all the ADR, Group, and oversees all the dialogue. Jane Boegel (dialogue editor), Jeff Cranford (Foley editor), and Gregg Barbanell (Foley artist) have all been with me since the Breaking Bad pilot. Matt Temple came in Season 4 of Saul and helped me set a new direction within the sound effects for the show. MATTHEW: Yes, it absolutely does, without them nothing happens. I'm so privileged to work with very talented and dedicated people who really pull the show together; I don't want to imagine where we'd be without them. I'm so very thankful to collaborate with them all. If I can, I'd love to list the sound crew: TIm Farrell, Sean Heissinger, Mike Schapiro, Harry Cohen, Clay Weber, Darrin Mann, Alyson Dee Moore, Chris Moriana, Moira Marquis, Deron Street, Todd Grace, and Ed Carr. BENJAMIN: I was brought on as the supervisor on the show, but I wanted to mix so I needed to have a supervisor who could be the stage and run the ADR sessions. I took out a page from the playbook at Skywalker, basically the sound designer would be the SFX mixer and work with a team of editors with an ADR supervisor, Sue Cahill, she's amazing. I have a sound effects editor I work with primarily, Shaughnessy Hare, as we have very similar taste.