Issue link: http://digital.copcomm.com/i/1451070
C A S Q U A R T E R L Y I S P R I N G 2 0 2 2 21 bandwidth limiting going on in terms of the actual original signal, even though it's exactly the same film and the same streaming platform. I know you mixed Bohemian Rhapsody and several other music-focused films. What was it like working on a music-focused versus an effects-heavy film? Because a lot of the other movies you've done have been effects-heavy? In a word, wonderful! My background is music recording and mixing and to be able to put music to film like that is just my dream job! I was fortunate to meet the band and their engineers, who had various original 24-track recordings. Some had been mastered, some of them hadn't, and some were slightly cleaned, and some were not. But they recorded everything they ever did. And I think they still do that, live and in studio. It enabled us to get my hands on all of these original tapes. Individual recordings of everything, and then, how to customize that for film in Atmos. Brian May was incredibly interested in Atmos and the technology of it; how many speakers, what is the fre- quency response… I mean, he's really obsessed with it. Well, he has a PhD in astrophysics, so it's not too surprising that he is a technologist! And you worked with John Ottman, who won the Oscar for editing that film. [John is also a composer.] Yes, John and I had worked on a few films before that. He was amazing on Rhapsody. Collectively, between him and John Warhurst, who was supervising sound editor, along with Nina Hartstone, we all knew what we needed to do, and we knew what we needed to get to. It was a very collaborative effort to get us to the finish line. I'm very, very proud of our work on that film. You did House of Gucci, too. I noticed the subtle use of sound design in it. Obviously, it's not a big sound effects movie, but it was a very fun movie to watch. I liked working on it. Ridley [Scott] is amazing, he is just a powerhouse. He just goes from one film to the next to the next and doesn't stop. I was just wrapping up The Last Duel in Los Angeles in September and, literally, a week and a half later, I was on a plane to London to start House of Gucci. I think I've done nine films with Ridley now [including The Martian and Hannibal], and he's prepping one right now; he's going to start shooting very shortly. You also did Ford v Ferrari, which I loved. It was fantastic. I really enjoyed working on that. Dave Giammarco CAS and I with Donald Sylvester as the supervisor. James Mangold was the director. I've worked with Jim I think six or seven films. Logan is another great film that I love! Mangold is really good at taking movies that could have a big canvas, but instead he makes them personal. Very much so. I'm sure what he's doing with Indiana Massey with the legendary Brian May at the Oscars Massey with sound designer Tormod Ringnes