Issue link: http://digital.copcomm.com/i/1316380
74 I M PS E . O R G Ahmed) losing his hearing during the film. Darius wanted Riz to physically feel this sensation. The body must not lie. I took Darius to the anechoic chamber of Ircam and we spent 15 minutes together in absolute silence and darkness. During filming, we set up a device on Riz Ahmed in order to simulate his hearing loss in real time. If Riz did not keep this apparatus throughout the film, this experience will however be inscribed in his proprioceptive memory. During production, I came to see the set because I am very sensitive to the notion of mood, and I'm very curious about experiencing the journey of the shooting, even if it's for a small moment. I always want to come meet the actors, the technicians, and take the opportunity to do some field recording in the neighbourhood of the sets. I generally have a DPA 4006 TL Quad and an LCR SCHOEPS tri-track which record in sync on a sound device. I tried to produce strong contrasts between the urban sounds where the film starts and the sounds of the countryside to which Ruben finds refuge to rebuild himself. We also recorded Riz Ahmed's breathing with a DIY micro stethoscope with two LOM USI PRO microphones inside. I was also there to give advice on recording the musical scenes. Obviously, these scenes are recorded with a good number of microphones on the instruments. We also put a geophone and a B&K 3-axis accelerometer on the drums. These sound recordings brought more possibilities when editing music to simply simulate Ruben's hearing loss. I took time to compose a kind of ambient music for the cinematographer. This served as a kind of POV music of the interior music of Ruben. Once production on the film was complete, Darius called on Mikkel E.G. Nielsen to edit the film. Mikkel is a modern editor and he has a lot of natural authority that