MPSE Wavelength

M OT I O N P I CTU R E S O U N D E D I TO R S I 55 Outstanding Achievement in Sound Editing Feature Effects/Foley GREYHOUND Apple TV+ Supervising Sound Editors: WARREN SHAW MICHAEL MINKLER WILL DIGBY MPSE Sound Designers: ANN SCIBELLI JON TITLE Sound E• ects Editors: JEFF SAWYER RICHARD KITTING ODIN BENITEZ MPSE JASON KING Foley Editor: LUKE GIBLEON Foley Artist: MARKO COSTANZO What was the biggest challenge you and your team faced? MICHAEL MINKLER, SUPERVISING SOUND EDITOR: Budget and schedule. WILL DIGBY MPSE, ASSOCIATE SUPERVISING SOUND EDITOR: The primary sound effects challenge was keeping the single location of a naval destroyer, especially the pilot house where we experience most of the introspective or tense moments, engaging and dynamic throughout the fi lm. Why are the MPSE Awards important to you? MICHAEL: Recognition from your peers. WILL: My peers are the voting body. Was there anything specifi c within the story that infl uenced your decision to take on this project? MICHAEL: No, nothing specifi c. But what sound professional could not be drawn toward a WWII fi lm? WILL: Being involved with this fi lm afforded me the opportunity to research and dive into a fascinating bit of naval history, which has always interested me. This particular account of a WWII captain and crew's resilience during a miraculous crossing defi nitely piqued my interest. How did the pandemic change the way you and your team worked on this project? MICHAEL: There was of course, a pause to the mix. WILL: Luckily, the majority of my time working on the fi lm was prior to the pandemic, with the exception of a week of conforming and stage coverage early in the pandemic. The difference in that case was simply not physically being on the mixing stage with the crew. Communication was through phone or email and transfers were via internet. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? MICHAEL: The scope and magnitude of the fi lm grew beyond what was fi rst presented. WILL: My involvement with the fi lm started in the cutting room around the middle of the director's cut, where we immediately began preparing a temp mix for internal screenings. Having the picture editor Sidney Wolinsky and director Aaron Schneider down the hall proved to be an extremely valuable tool as we were continually building out the temp track and developing new ideas and approaches. We moved fast. Being embedded in the cutting room, working directly with VFX and picture editorial absolutely gave way to a new perspective on the complexities and challenges involved with developing a fi lm from the director's cut stage and beyond. I grew an appreciation for the many roles that must be fully realized in order for a fi lm to be successful.

• Cover