Q4 2017

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62 CINEMONTAGE / Q4 2017 How can the stylistically different tales be offset until ultimately woven together? What does an audience need to know, and when? How long can one storyline be left to attend to the other? How will the audio be presented, given that all sound is not entirely absent from each character's consciousness? Finding the voice, techniques and balance to tell these characters' individual stories took craft, persistence, patience and the informed trial and error that comes with experience. At least it did with the collective experience of picture editor Affonso Gonçalves, ACE, and sound editor/sound designer/re-recording mixer DEAF JAM Hearing (or Not) Is Believing in 'Wonderstruck' by Rob Feld • portraits by Sarah Shatz P icture and sound editorial were faced with a number of multi-layered post-production challenges on this feature. How would they approach the film's two parallel stories, set a half-century apart but in the same city, with one shot in black-and-white and styled as a silent film, the other depicted in the living color of gritty realism, and both featuring hearing-impaired lead characters? Opposite: Affonso Gonçalves, left and Leslie Shatz. Wonderstruck. Amazon Studios

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