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 33 the time and it definitely becomes taxing and a burden. Remember when we started working at the beginning of the pandemic, the picture editors all worked from home, and we thought okay great. They set up these systems at home—the assistant would have a system at home and the picture editor would have a system at home, and they would try to get a picture out but because it's a 15gb file, it would take seven hours to get to you? You're like, yeah, this is not going to work. It all works in theory but I think we're learning now how to deal with those things. Hopefully, as we get through the next phase, people will be more aware of what it takes to do this remotely. The editorial is one part, but moving the material is definitely another. And playback, that's a big thing. That's why I come to the office, because I can stream a full gigabit stream from the stage. I can't do that over Wi-Fi at home with my kid on Zoom in school. It would be awful. We've had to make some adjustments along the way. EM: One more question for each of you. What's been your favorite thing about working on Fargo Season 4? MT: I just thoroughly eat up all the sound design moments. The slow- mo stuff is always a joy to work on and, as crazy as it sounds, I love cutting the cars. Especially for this show. APK: The thing I get most excited about in these episodes is the supernatural material. I've just loved imagining what happens environmentally when those moments happen. The scenes with the ghost, like when the ghost guy is coming out of the bathtub. In a situation like that, the backgrounds don't just remain this ratty old hotel room, they transform with the situation. In the backgrounds, I was imagining being in the belly of an old wooden ship, and I tried to construct that atmosphere to intensify as it crescendos. Fargo was full of moments like that, and I just love imagining how transitions occur and how to capture the emotion of those moments. NF: The tornado. The tornado was a lot of fun. MT: That was a lot of fun. What would you say, Nick, was it two minutes long? And it took about a week's worth of work. It was intense. NF: Yeah, it was really intense. I don't even know if Matt saw the final visuals on it because it's layered and layered. Yet again, talk about perfect timing. We had time to do something and had time to finish it, because if we had tried to do that in its regular schedule, I don't know how we would have done it. Luckily, they had decided to give us more time to finish that episode because of the visual effects, so we were able to mix it after the visual effects were much further along. I think it turned out really cool. I think that was my favorite signature moment of it. The whole episode is really good, but the tornado was really special because it was such an involved process to do it. It was really fun. APK: Yeah, that whole episode is very surreal and ghostly. It's a unique episode. NF: It's a real left turn in the middle of the season. It's very cool. EM: Well, it sounds incredible and your love for the material really stands out. I really enjoy listening to all your work on it. Nick, Matt, Adam, thank you so much for your time. APK: Thanks, Eric. NF: It's been a pleasure. "In the backgrounds, I was imagining being in the belly of an old wooden ship, and I tried to construct that atmosphere to intensify as it crescendos. Fargo was full of moments like that, and I just love imagining how transitions occur and how to capture the emotion of those moments." –Nick Forshager