Issue link: http://digital.copcomm.com/i/1353865
26 I M PS E . O R G seven and eight, and we got basically two months to do those shows, which was great. That was a perfect pace to do those shows, whereas if we had done it the way we were supposed to, we would've had basically 10-day turnarounds from beginning to end, and we had closer to 15 to 20 days per episode to do it, which was awesome. You use every minute of it. MT: Yeah, for editorial it takes a minimum of two people two weeks to get one of these episodes done the right way. It's a lot of man-hours involved. APK: And that's just for effects in that calendar. EM: Wow. In this season of Fargo, it bears some striking dierences from the previous seasons, namely the time period. In episode one, there's a sequence of these groups in a room staring at each other and stomping. It's a rhythmic stomping that happens between the two mobs as they face each other. This stomping rhythm seems to have become a theme throughout the season, so how'd you go about recording that and cutting it in? MT: Well, Nick has a thorough understanding of what Foley was delivered, but there was nothing we could do to match production. I mean, production was just spot on. They were actually stomping in the space, so you had the sound of the space and the stomping. Of course, we embellished it as best we could. NF: Yeah, the basis was production, but I did take some of the elements Matt had cut. He had these great big stomps that I could fit underneath and we delayed things a little bit so it wasn't exactly rhythmical. The delay gave it a little more size and weight. It was a combination of things. Foley actually did a really good job of getting me another layer of the natural texture of that stomp. It didn't just sound like that one sound over and over again—it was layered with these pieces. If you recall, it starts with them mimicking each other. One would stomp, then the other would stomp. It was this back-and-forth, and then as we got to the next group, it was just one side doing it at a time. We really tried to get a contrast on how we did that, especially in the way we mixed it too. We tried to swing it around the room so you knew which side was stomping and which side wasn't, and it really helped having those layers to do that. I thought it turned out pretty well and like you said, it became kind of this theme, especially for the Milligan character where he would have these flashbacks of his life where you try to bring in that element underneath it. It's another example of the Noah mind—if you suggest something like that, he'll be like "Yes, let's try that." So we bring it in and try it, and he loves that kind of stuff. SUPERVISING SOUND EDITOR NICK FORSHAGER SOUND EFFECTS EDITOR ADAM PARRISH KING SOUND DESIGNER MATT TEMPLE