Issue link: http://digital.copcomm.com/i/1353865
M OT I O N P I CTU R E S O U N D E D I TO R S I 31 those elements, but as the season progressed, we just grabbed from a set of backgrounds that we had created that were period-specific. Everything else in the backgrounds, other than the cars and the telephones were pretty similar, such as birds and winds. Things like that didn't change from 1950 to now. I think everything in that era was heavier and metallic, and less plastic, so those were considerations I tried to factor in. It was a little more aesthetically pleasing in a way, almost like a grit and a concreteness to everything. Outside of the subjective moments of course. MT: Yeah, I'm really fond of the slow-mo sound design stuff. That was a lot of fun. APK: Those were fun. There were so many subjective moments and you have to consider that in the backgrounds too, these transitions away from the concrete and into the subjective. Those were some of the more interesting moments that Fargo was full of. EM: Another scene that stood out to me was a scene in a bank early in the season where Loy Cannon is pitching a credit card idea and, somewhere in the room is an old-fashioned vacuum mail tube. How did you all go about crafting that pneumatic tube capsule sound? MT: Well, one of the elements I used I had recorded years ago. You know, those big poster tubes? They're cardboard, and if you pull the cap off the right way, you get this "thunk." That was one of the elements that I used. There's a wind suction in there too. NF: I know there was a vacuum sound. One thing we did in Foley was I wanted a little bit of a rattle, like it rattling in the tube. So I had them create this kind of metal, plastic thing rattling in the tube. Then when we got all of the elements together, I made sure they panned it across and moved it around the room a bit. So you had this feeling of something rumbling up and moving through the space, and then you realize it's a kind of vacuum tube thing. APK: Great sound. NF: It turned out pretty well. You didn't know what it was when it first happened, which was kind of the fun part of it, like you can kind of "red herring" it. You don't know if it's an earthquake, but when it gets revealed, you always get a big smile on your face because those things are so unique. EM: Amazing. Sound editing for TV is obviously a very fast-paced line of work. When you all get breaks from shows, how do each of you typically decompress and reset? NF: I don't think Matt ever does. (laughing) MT: Decompress? I don't even know the definition. I mean this COVID thing... I've had a lot of time, too much time on my hands. But I've been busy writing music and keeping busy that way. APK: I want to hear some of your music, Matt. I bet it's amazing. NF: I spend a lot of time with family. For me, it's nice to spend time at home and not at the office. Which is probably what I would normally do in a regular world, but there's not much to do right now. APK: I've been painting a lot. And I go on long hikes in the mountains and through the city too, just to get away from my screens. I walk down to MacArthur Park, great stroll. NF: I do a lot of hiking as well. I think that is definitely the best de- stresser for anything. It's a great thing to do. APK: I feel like that's one of the great advantages of Los Angeles. You get all of these amazing things that a big city will offer, but then 30 minutes away, you can be surrounded by pure nature. MT: Like riding horses. "There were so many subjective moments and you have to consider that in the backgrounds too, these transitions away from the concrete and into the subjective. Those were some of the more interesting moments that Fargo was full of." –Nick Forshager