Issue link: https://digital.copcomm.com/i/1277927
60 S U M M E R 2 0 2 0 I C A S Q U A R T E R L Y As a re-recording mixer, I am always looking for clues as to the sonic style of my clients and new ways to achieve creative solutions. One of the best ways I have found to do this is to stay close with the entire sound team. Supervisors hear the notes directly from the clients in spot sessions and sound designers, both dialogue and sfx, receive these notes and manifest them in what they deliver to stage. I find it is near impossible to create a masterful mix without masterful editorial and design. So, today we spend a moment with sound designer Sylvain Lasseur to learn more about how he uses Kyma to create elements for the mix and how he interacts with his mix and editorial team, as well as clients. Los Angeles-based French sound designer and Kyma ar tist Sylvain Lasseur has many accolades. He has been nominated for a César (French Oscar) for his work on the French police thriller 36 Quai des Or fèvres (36th Precinct), starring Gerard Depardieu and Daniel Auteuil, been senior sound designer on The Hateful Eight, Deepwater Horizon (both Oscar and Golden Reel nominated), Godless (Emmy nominated and winner of the Golden Reel Award), and Once Upon a Time … in Hollywood (Oscar and Golden Reel nominated). He is a unique talent with a unique approach to design. You work both in Europe and in the U.S. How would you describe your relationship with the rest of the sound team in both countries? Is there a cultural difference in your role as a sound designer and your connection with the sfx mixer, based on where you are working? Do you have a different relationship with the client in one country versus another? There are evident differences between French and American cinematic production. These differences are both economic and cultural: Economically, French cinema is principally sold in Europe while American cinema is sold throughout the world (which considerably influences production budgets). French production budgets are substantially smaller. Culturally, the differences reside in history, as the history of Europe, and of France in particular, is not that of the United States. Therefore, the way films are produced in Europe is very different. In France, 90 percent of the time when I work on film production, I function simultaneously as the sound supervisor, the sound designer, and the sound FX editor. In short, I am responsible for the team which is comprised of myself, a sound editor, and a dialogue editor. Being the sound supervisor, I have a privileged relationship with the production company, as well as the director, with whom I share the economic imperatives, as well as all artistic demands of the film. During the mix, I am generally the only representative of the sound team. Thus, my relationship with the mixer must be straightforward and rich with options, especially as the time dedicated to mixing the film (3-4 weeks) is much shorter than it is in the U.S. In the U.S., 90 percent of the time I work as part of a team comprised of more numerous sound professionals, which is managed by a sound supervisor. My work on films in the U.S. is more specialized and specific. I function only as the sound FX editor or the sound designer (not the sound supervisor). Therefore, I have a lesser relationship with the production company and the director. In the U.S., I do not have to manage the financial imperatives, and the artistic desires are communicated to me directly by the sound supervisor. In addition, as I only occasionally attend the mix, my relationship with the mixer is much less crucial than it is in France. Wylie Stateman and Harry Cohen (two talented professionals who have worked together for many years and with whom I have had the good luck and honor to work) take charge of that part of the process. Having "tasted" both methods of working, I am still not sure which one I prefer. That being said, the second method does offer me the advantage of staying 100 percent concentrated on my specific FX mission for the film. In both cases, I remain convinced that open and fruitful communication with the mixer is essential. Without a doubt, that open relationship allows us all to elevate the final product, even if at times, the outcome does not preserve 100 percent of my initial intent as a sound designer. The purpose is to best serve the needs of the film. Welcome to the Wonderful World of Sound Designer and Kyma Artist: Sylvain Lasseur b y K a r o l U r b a n C A S M P S E