MPSE Wavelength

M OT I O N P I CTU R E S O U N D E D I TO R S I 71 busy with ADR recording (Recorded mostly at Goldcrest by Simon Diggins) and fitting. We also mixed the film at Pinewood. We worked with re-recording mixers Ian Tapp CAS (dial/music) and Andrew Caller (FX/Foley). It was our first time to work together, but we hit it off quickly on one of the temps and the process for our premix and final mixing was really smoothe. They both made sure we had a really measured, thoughtful, creative and collaborative environment and process for the premix and final mix. It was a real pleasure to work with them and to have their skill, input, and perspective as we worked through the film. They each brought a lot to the finished film. MEET THE SOUND CREW Filmmaking is a hugely collaborative process. It's safe to say that we all feel very fortunate to have been part of this film and to have gotten to work in such a collaborative way with our director and her editor. The sound work on screen is led by them and executed by a wonderful group of sound professionals that I feel very fortunate to have worked with. Film sound works best when it is driven by story, character, and the momentum of the film's performances, visual style, and editing. We hope our sound work here went some way to achieving that. Marjane was very generous with the space she gave us to play and experiment with the sound, but also with how precise she was with her notes and her reactions. When she liked something, you really knew that she loved it. When you're in a process for several months, it's really refreshing and energising to have your director be so clear and positive in their feedback. The relationship that she has with her editor, Stéphane Roche, and the relationship we got to have with him was really special. His stamp is all over the sound work in the film. The main producer, Paul Webster, was very involved in all aspects of post-production and it was great to get to collaborate with him and be part of the lovely little gang, that they had assembled around the film. I feel incredibly lucky to have worked with everyone on the film and anything I've talked about here was all part of a huge team effort, as sound post work should be! –Steve Fanagan MPSE Radioactive Sound Post Crew Sound Designer/Supervising Sound Editor: Steve Fanagan MPSE Supervising Dialogue/ADR Editors: Nigel Mills + Adele Fletcher Dialogue Editor: Niall Brady MPSE First Assistant Sound Editor/FX Editor: Jo Jackson Re-recording Mixers: Ian Tapp CAS + Andrew Caller Foley Artists: Zoe Freed + Rebecca Heathcote Foley Mixer: Jemma Riley-Tolch Foley Editors: Lily Blazewicz + Adam Bourne Mix Techs: Ashleigh Davies + Filipe Botelho ADR Mixer: Simon Diggins

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