Issue link: http://digital.copcomm.com/i/1353865
I would say Noah is much more like jazz. He's got a blueprint of what he thinks he wants it to be, and it goes wherever it goes. He's really experimental. He's never like "let's do this," he's more into "show me something, let's see how it fits into things." Legion is all about experimentation, but I think that's true for Fargo and other shows I've done with him. He's not about just one way. Show me something different and bring something unique. Neither one is really restrictive. Vince will still allow you to push yourself and he's always moving forward, but Noah is a little more free-flowing. Out of all the people I've worked with, those two are probably the smartest people I've ever met. They are just on a different level of thought process. It's really unique. You have to really bring your "A" game when you're with those guys, for sure. ERIC MARKS MPSE: I'm joined today by Fargo supervising sound editor Nick Forshager, sound designer Matt Temple, and sound eects editor Adam Parrish King. You've all teamed up on some very high-profile shows with big-name creators. What sorts of preferences have you noticed that dier between someone like Vince Gilligan compared to Noah Hawley? FARGO SUPERVISING SOUND EDITOR NICK FORSHAGER: I think the best way to describe it is, Vince is a maestro and he writes symphonies, and it starts in the way he writes. Everything is detailed out. Camera angles and expressions, and even sounds down to the nuance of everything. He is building it note by note, so by the time we get to the final product, it's kind of this symphony of ideas that he's started from the beginning and has built in to. EM: What would you say your team does to set your work apart from other sound teams that are on similar level shows? NF: That's a tough question. I think the shows I was on early on, like Breaking Bad, already pushed that boundary, so I think we were a little ahead of the curve in terms of how to prepare things for a different level. We came along when TV was stereo, or even mono sometimes, and pushing into this digital world, we were able to explore a new world of what TV could be. I see shows now and I'm blown away by what people are doing. So every show we come into, we really have to find creative ways to bring the level up and explore new sounds. Obviously, new things like Atmos have really brought sound to a new level for television as well. BLESSINGS IN DISGUISE for Fargo Season 4 BY ERIC MARKS MPSE You just have to keep pushing, looking, and exploring new things every step of the way. You try not to do the same thing over and over again. That's really the key for us. FARGO SOUND DESIGNER MATT TEMPLE: The bar is set pretty high for these shows. It's a challenge to rise to that and it's made me a better editor. I think being an editor in general, it's like being a musician. You can practice all your life but you still have room to grow, and if you have that in your mind, then these shows are for you. FARGO SOUND EFFECTS EDITOR ADAM PARRISH KING: Absolutely. It's thrilling to be a part of those shows, it really is. It's such a great creative challenge. It's exhausting but fulfilling to see. NF: Especially doing multiples of