Issue link: http://digital.copcomm.com/i/1353865
something that talks about Donatello's fart. I'll have to find it. Ironically, they talk about that fart and how big it was, and that there's not enough of that on television. The other thing they quoted that it comes close to is when Tio sharted himself in Breaking Bad, which I had also done! So it's like, this is how I'm going to be remembered, for all the shit sounds, right? The article is very, very funny. EM: That's incredible. NF: Yeah, those are moments that sound designers dream of, when you have to cut that. EM: And definitely not something you'd expect on a show like Fargo. NF: No, not at all. And the funny thing is, they make you laugh every single time. It never gets old. APK: Yeah, there is a lot of humor in that show. NF: It's a nice counterbalance. It's a great way of writing by having that counterbalance. When you get those moments, you gotta make sure you hit them right and get something special out of them. You'll remember them. EM: Matt and Adam, given that this is a period show and it takes place in the early 1950s, how did you go about building sounds for the period weapons such as the guns? Did you utilize any tricks to make them extra impactful and sweetened for modern sound purposes? MT: Nick is the gun guy. He has a high standard for weapons. NF: I do. MT: There have been some scenes I wish I could cut, but Nick stole them away. NF: I like shooting people. (laughing) We did use period guns for a lot of it. I mean, Noah is interesting that way. He doesn't like to do things that are obvious. Like a gun battle for him isn't, "I'm going to have this big gun battle." It starts with one thing, and then it develops into a much more surreal moment. It always shifts and moves. In episode seven, when the police are trying to come in and make this capture of the train station, and you think it's going to be this massive shootout, it starts big and then it goes into the surreal, and then the aftermath. So you have to design things in different aspects. A real aspect, a surreal aspect, and a finishing aspect. The design choices are built off of those things. As far as guns, I usually start with the period gun, but it's usually evolving into something else at that point and we did that a lot this season. We didn't have your classic back-and-forth shootout. They were really more design moments. MT: Yeah, it's very stylized. Very fun approach. NF: We did a big thing in Season 2 of Fargo, what they call the massacre. It was the big shootout in a hotel and yet again, it's the same thing. It starts out and you think it's going to be this massive battle. 1950s cars in a nighttime scene.