CAS Quarterly

C A S Q U A R T E R L Y I S U M M E R 2 0 2 1 23 doing all this portion. Afterward, Michelle and Jaime got in and it was like a tag team in that sense. PB: Yeah, nothing about this movie was normal. That's the thing I think everyone needs to know. We kind of started and reinvented. Carlos, you did the complete pre-dub, the music pre-dub, the effects pre-dub, the dialogue pre-dub before Jaime and Michelle in three weeks? Were there three seats at the board later for all of you to work together? CCN: Not really, because when Michelle and Jaime came, I stepped out, and I was just around giving my impressions. JB: At the beginning, we were [also] supposed to have three weeks. Then things started to change because they realized that we need more time, of course. There were a lot of things to do. Carlos did a great job in creating how Darius and Nicolas' ideas are supposed to work. But when we arrived, what happened was we saw the whole film with Carlos' pre-dubs. Michelle stuck the film together because we have it in reels of 20 minutes, and we played it back for the first time for everybody. It was the first complete pass of the film without stopping. MC: We were thinking, "Well, they have already done, like, three weeks of mixing. Perhaps we will see the film and it will be great and we will go back to Mexico, and that's it." What happened is that we saw the film together and then we (L-R): Director Darius Marder with re-recording mixer Carlos Cortés Navarrete started to do dubs. I usually take a lot of notes with timecodes and things that I want to change, and I remember that I did like 600 notes of things that I would like to change because it's like my Christmas list to Santa. [Laughter] These are all the changes that I would do. And then with Jaime, we talked also about his changes because he always sees the film as a big… JB: As a whole. MC: …the big picture. And I'm always looking at the details. And then we talked with Darius, Nicolas, and Carlos and said we think we might change the concert, the beginning concert, because it's the start of the movie and Riz is a drummer, a heavy metal drummer, and he's playing there. We needed to be, like, inside the movie. So, the first concert should be super impressive but not, like, just a wall of everything sounding really loud. JB: Yeah, for every cut, we did a change in the color of the sound. We changed reverb, we changed a little bit of EQ, some harmonizing, and things like that. We also changed the panning of things. But we did like 12 versions of this concert. So, the first version had all these changes—a lot. We wanted to hear a lot of change, and Nicolas says, "Well, I think it's a nice idea, but it's too much. So, please make it…" And then Darius said, "Okay, let's see what Nicolas says." So, we redid the concert, and we made some more notes. We did 12 different approaches. MC: I think there were, like, three versions of the movie; three cuts. So, regarding the time that we spent mixing, the first cut was seven weeks. And then we got back to post to do the second version of the film. With the second cut, we mixed two weeks there, and then we came back here to Mexico for 2½ days to do corrections and the DCP. And then the third cut, we did another two weeks in PostLand. And then we came back here to Mexico to do two [more] weeks. And then we had all these deliverables. PB: And I'm jealous how much time you guys had. I had like two takes, and then we had to move on! [Laughter] They also shot the Phillip Bladh CAS showing his sound cart and Oscar

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