Issue link: https://digital.copcomm.com/i/1335892
M OT I O N P I CTU R E S O U N D E D I TO R S I 77 the left side, people on the right side, a dog barking in the distance behind us, maybe a bicycle. All this happens at the right timing, in tempo while following her walking. It was always my intention to have this harmony. The music is beautiful. Every time the music appears, the music must be the hero but with a good harmony from the sound design. You've actually just answered my next question, so instead I'll just give a statement. The balance between the sound design and the music in those montages is beautifully done. The in and out of the montages are very subtle and well executed. very important to show that this Amazon store is huge and that there is a lot of sound surrounding Fern. We wanted to show the impact of where it is that Fern was working. The second time we present this space is a different moment and time in her life. We tried to present this curve. It's following her emotional feelings at that time. In the RV parks, she is always surrounded by lots of people even when she's alone which also gives an interesting perspective in contrast to where she is as a character, not allowing herself to open up to others. What was your approach on this? with Alan Romero and Jaime Sainz as a Foley department. We always have a great communication to make sure they have a clear idea. Since the very beginning, my plan was for us to make sure everything feels like it was done on set. That's why we recorded Foley inside a van, as well as on the Foley stage. We did a lot of wild tracks with them and I added to them as well. We mixed all the layers to preserve the quality of sound. Inside the van, the characters' movement needs to be more prominent all the time. It needs to feel realistic. It takes a lot of time to get to that level of making it realistic so that it sounds like it was from the production sound. " After my first encounter with the movie, I created a concept in my mind and called it 'fragility.' All the treatment of the sound design had to reflect the meaning of that word. " I did this on purpose, based on an idea from Chloé. Outside the van we have beautiful landscapes and the sounds should have depth, not like the small space of inside the van. So that's why we added a lot of specific sounds and many details here and there. In these moments we tried to make it like a documentary, playing with the thin line between fiction and non- fiction. The Foley is quite remarkable throughout the film. Again it feels like it pushes the subtle messages of the story forward by adding intricate details. For example some of the vans Fern interacts with feel hollow, such as her car, Vanguard, and some feel more solid like they're put together and maintained better. Can you run us through your process with the Foley team? Yeah, sure. I am usually working Thank you so much. We tried to blend everything so subtly and gently. There's a couple of hard cuts but all the time we played together these harmonious soundscapes with music together so that we could be focused on Fern. If you have the chance to go to the theatre or an IMAX, you'll be able to enjoy everything around you. Nomadland was originally conceived in 7.1 format, so we all focused on the sound depth of each sequence, following the camera's movements with great enveloping detail and adding to the beautiful landscapes. In the Amazon Factory in the first act, it's overwhelmingly loud then when we return to it in the third act, it's much quieter. What was your approach on this? This is another example about the prominent treatment, that's why at the very beginning it was There were some scenes I went back to re-watch so that I could analyze the Foley coverage. Whether it was something right in front of us like a person walking or a flag way in the background, it is all covered. You and the team did a really great job on that. Exactly. That's great. Wherever you focus your attention, there's life. We did a lot of layers all the time. No matter where we are. As you'd like with such a delicately performed film, it feels like there is mostly production sound used. How much ADR was used in the film? The production sound was really amazing. Mike Wolf did an amazing job. There's not a lot of ADR in this film. We do have ADR but not for technical reasons. All of the ADR and loop group during this