MPSE Wavelength

atmospheres for the film, along with these emerging modern sounds, which become more featured in the later years of Madame Curie's life. As we are telling a real-life story, it was essential that our sound work was true to that life and the time they were living in. There was a significant amount of research and sound sourcing involved in making sure the period detail was correct. This extended to the flash-forward sections of the film, where we had to source the sounds of a B29 Bomber for Hiroshima, a 1980s Ukrainian fire truck and siren for Chernobyl, and many other specific authentic sounds. We have scenes and sequences that take place in both World War I and II, in nuclear test sites in Nevada amongst other places and times. It was important to get these right. There was quite a bit of research and reading involved in this part of the process, which was hugely beneficial. I read several books about Marie Curie's life, watched other films and TV series' about her; all of which gave insights into her that spawned ideas for our sound work. I also read a lot about radioactivity, Chernobyl, Hiroshima, early cancer treatments, etc., to make sure we had what we needed to approach these sequences appropriately. While the historical accuracy was of great importance to us, these sounds really only provided us with the right raw materials to work with. As with any film work, a huge part of the process and creative sound work is about exploring how to use these sounds to best work with and underscore the emotion of the story unfolding on screen. Good sound work is more about a feeling and an intent than it is about being literal. It is a journey to figure out what a scene or sequence needs. Marjane was very clear about wanting the film to reflect this exciting point in history. Alongside many of the great scientific and technological discoveries of this time, the arts were also going through an experimental and groundbreaking phase. It felt like it was something that could influence and shape our sound design work. We created a lot of original sounds for the film to try to reflect this time and energy of experimentation. CAPTURING THE UNIQUE SOUNDS OF MADAME CURIE'S LAB We did a big lab recording session at my old school to capture a variety of glassware, bunsen burners, acid fizzle, electrical arc and spark, and general laboratory activity to build up the environments and spot effects in the Curies' labs. It was my first time back at my secondary school in more than 20 years, but my old chemistry teacher, Mr. Wall, was very obliging and set up a number of interesting experiments I could conduct and record for sound texture and detail in the film. I also had a long list of specific spots to collect for individual movements of characters on screen. The film shows the excitement and effort that goes into scientific discovery, it shows the passion and energy that permeates a laboratory. It is physical work that takes place in a lively, collaborative environment. The lab scenes felt like an invitation to us to use sound to bring additional character and detail to the film. It's always great to have the opportunity to use sounds that are distinct and specific, that express something unique about the story. We used these bespoke recordings as foreground and background detail in these laboratory scenes. They express something about the space and the people in it. The work taking place in these scenes is what led to the Curies' great discoveries. Having a variety of material to work with to add different texture and detail to these scenes was really helpful and we hope it translates for the viewer. As a side note for me, there was something very special about getting to record somewhere that was personal, where my own love of science was fostered (I actually went to university to study chemistry after finishing school). It's always rewarding to bring something that is really personal to the work that will translate into something emotional and meaningful for the film.

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