Issue link: http://digital.copcomm.com/i/1353865
place so I had everything moved out and put into my house. What changed was, as far as FX would go, Yann (Delpuech) and Dan (Gamache) would send me their sessions, I played them back and say okay, yes, mute, or whatever. Then I'd come up with different FX thinking more of something that way and send it back to them. SSS: In the world of COVID, your entire post-production experience was during the pandemic. So, you were dealing with Warner Bros., you were dealing with King Soundworks, and you were dealing with the element of COVID.© JJ: We were working in a lot of isolation. Everyone was working in their homes. That was already the operating system at King Soundworks. People work in their own studios at home. This was a film with elegant flashbacks, not something overt, bang, boom… I need something to tell me that this just happened. The film tells you that. That's the main thing. You listen for what the film needs, not what you think it needs, but what it needs. That was one thing. Not having the day-to- day contact. Although now with texting, FaceTime, and Zoom, Darren would send me stuff, "Hey, what do you think of this." I got a lot of production stuff Darren was working on because it was so hard on the ADR scheduling. Basically, we were dealing with shifting sands of what was (COVID) appropriate, or how many people could be in a room, who could be in a room. The corporate structure at Warner Bros. was shifting mightily, radically, because they had a massive layoff in the middle of it. We were like this little King Soundworks boat. How can we get this done? They came up with a process using iPad and Todd-AO software to shoot to clips at an actor's home. SSS: Your three leads... OK, we have Denzel Washington, Rami Malek, and Jared Leto. You had three di›erent ways of recording their ADR. Can you Photos: Nicola Goode. © 2021 Warner Bros.