Issue link: https://digital.copcomm.com/i/1401019
if the storytelling is really great. And so, making choices very early on that establish that language allow the audience to understand how the story will be told PA: Yeah, this car stuff is a mixture, again, of the sound collage and the sounds of the car but really going back-and-forth between what you hear. I mean, do you hear what's actually there or do you hear through the ears of David? And then there's this phone that rings in the middle of it and the sound of the phone also becomes part of the whole abstraction. Often what I do is I take sounds and then I process them and put the processed sound on another track. I processed things in different ways and then took the processed sounds back into the real sound and then going back again and constantly moving in and out of those. And then by having them on separate tracks, I can pan them in different ways so that it creates this dizzying feeling where you're kind of going in and out of what the perspective is on this sound. And so there's abstractions and the actual sounds put together in a way. And there's a lot of that generally in the film. We are just adding so many different textures to the sounds and often mirroring the sound effects with delays like Slapper, reverse reverbs, and a lot of panning. I did a lot of that in that sequence. Then also just making sure that it was really aggressive and dangerous, that it felt really physical using LFE and heavy, distorted elements. So, there's also a lot of distortion in this. DB: I want to say we peaked six channels on that. ALL: [laughs] PA: Yeah, it's heavy stuff. It's a lot going on. I love that the moment just before David drives away from the store. You have this very small, tiny sound of leaves being blown across the road, sort of just a small, small sound. And then you go into this sequence that is so loud with those kinds of dynamics, we just really love that.