Issue link: https://digital.copcomm.com/i/1383074
24 S U M M E R 2 0 2 1 I C A S Q U A R T E R L Y movie on film, so it's not like we could just roll and keep rolling and keep rolling. They were like, "Okay, move on. Good for sound?" And you are both taking turns on a single-operator console? MC: Here in Astro, we have a two-operator console. Jaime usually does dialogue and music, and I usually do effects, ambience, and Foley. But on this film, you worked on a lot of the dialogue mix and edit on the dub stage? MC: Yes, because sometimes we switch. [Laughs] JB: But the thing is, our work is not—"Okay, Michelle is going to be in charge of all the effects, and I'm going to be music and dialogue." If Michelle has a great idea in dialogue, instead of telling me to do this or that, I say, "Do it." If I have a better approach for a specific effect in a specific moment, instead of explaining to her what I will do, she'll say to me, "Okay, why don't you try it?" And sometimes it's "Okay, Mich, I would like to do this, but we need to organize differently in Pro Tools so we can mix it differently." So, Michelle can help me do the reorganizing or edit something; Michelle is really good at Pro Tools. She can do it very fast and very nice. That's the way we work. And in the case of Sound of Metal, what happened is that if I was doing [for instance] dialogue and music [and] Michelle was doing some effects, but Carlos had a great idea of something... Carlos was there and tweaking. It was no problem—as long as you don't destroy the work. [Laughs] You can do whatever you want, my friend. So you worked "combined"… back-and-forth. How did that affect the music? JB: Well, the music in Sound of Metal is really interesting because it is not exactly—I don't know if you can call it music. I mean, I know it is music; it's all great music. It's harmony, rhythm, and colors. So, we combined the music with the effects so that you don't know, really—we combined it so that sometimes we use more music than the effects. The original version was, like, all the effects, all the music, and we said, "Oh, no." Re-recording mixer Carlos Cortes Navarrete Re-recording mixer Michelle Couttolenc Re-recording mixer Jaime Baksht