Issue link: https://digital.copcomm.com/i/1401019
PA: I mean, that's definitely something that I really love about the mix. I just really like dynamics. Dynamics for me are not just that it can be quiet and loud, but dynamics can also be spatial dynamics. So, the way that you use space in the mix and the way that sometimes things can be just center channel with a small fragile breath, and then in other moments, it's really wide and expensive with lots of things happening. We do that a lot in the film, that kind of dynamic between really quiet and really narrow. And I think that also very much comes from this visual choice that Robert and Oscar made. DB: Yes! One of the things that first struck me was that we sit on shots for extended periods of time, and it was really like you were a voyeur watching the interactions. Because the shots were long enough, it seemed like panning wouldn't get distracting so we decided to try to take some more liberties than usual with that, locating the voices with the actor on the screen, not just hard left, hard right, or up the center, but actually tracking them, following them back- and-forth. I think the biggest payoff with that is the final confrontation scene in the street. MA: The movement of the dialogue in that scene really helps ramp up the tension. Did you use any ADR to help with the separation or did you go with production sound?