Issue link: http://digital.copcomm.com/i/1416119
ONLY MURDERS IN THE BUILDING www.postmagazine.com 19 POST SEPT/OCT 2021 the two often makes creating a temp look a little more polished." Each episode, she says, has its "own kind of swagger" to it. "There is a really strong point of view in each episode as well. Sometimes the point of view is told through our leads — Steve, Selena or Marty. Other times, it's through our suspect's point of view. Episode 3 has this really great fantasy sequence with Oliver (Martin Short's character). You get to see a rundown of all the suspects in a really fun and inventive way, told through the eyes of Oliver himself. It's absolutely hysterical." Yarrow also points to Episode 8. "Throughout the series, these fantasy or height- ened moments really gave us a chance to play. Since there are fewer rules in that space, I had a really good time cutting Episode 8. We meet new characters for the first time and it really feels like they are so close to figuring out who the murderer is by that point." SOUND Supervising sound editor/re-recording sound mixer Mathew Waters was responsible for creating the show's true crime series sounds. Waters' credits include HBO's Game of Thrones and Lovecraft Country, as well as the features If Beale Street Could Talk and Booksmart. When he saw that Steve Martin and Martin Short were doing a series together — "I have always wanted to work with them" — he made a few calls to offer his services, and ultimately landed the job. "I love to get started early working with the filmmakers to help create the soundscape of the episodes," he explains. "Once I knew I was doing it, I got the scripts and got in contact with Julie Monroe, the picture editor, to start talking about the sound and sending her stuff over to work with. I did that with all of the editors on their episodes. I just find it to be so helpful and it is fun working together with all of them." The show takes place in a New York City apart- ment building, so Waters says he felt it important to try to make the building a character itself. "Episode 107 was a blast because it was told from a deaf person's point of view," he notes. "So, as always, I got with Julie early on to discuss some ideas that her and I had. I then took her production tracks and manipulated them so they were unin- telligible, yet had a very cool quality to them. The only dialogue you hear in this episode is the very last line. They sub-titled the entire episode." Showrunner John Hoffman really liked the soundscape. "It was a fun challenge to make the show interesting yet void of intelligible sound," Waters continues. "The few times we go back to the real-world sound, it is like you can breath again. It is very effective. This concept has been done before, but never to this extent, to my knowledge, and it was really fun to be a part of." PostWorks' Jencks graded the series using DaVinci Resolve. Mathew Waters helped create the 'true-crime' soundscape. Avid Media Composer was used to edit the show.