m ot ion p ictu re s o u n d e d i to r s I 89
and scrubbed and cleaned
and edged it up in the mix
to be pseudo-real, but loud
enough that the words were
intelligible, but then Robert
said, "No, no, no, we're going
the other way. All right. Turn it
down." And it's great because
it's real! I felt that my role in
the mix was to help with the
"real" and on Peter's side
is where all of the surreal
emotion and "inside of the
feelings" came from. So it
was so great when Robert
said, "No, we want to make
this real. You can barely hear
them" because in real life, you
would barely hear them from
that perspective. Then to be
able to do that and get the
balance where you hear just
enough to know this is a really
awkward situation was a lot of
fun.
And at the same time, we had
Foley, production cloth, and
the ADR breathing that Clayne
gave us inside the cab of the
truck. So when you're hearing
pieces of this uncomfortable
conversation, you feel David
getting irritated through his
breathing. It ended up being
a wonderful blend of those
sound elements to give you, the
viewer, that same discomfort.
–DAVID BARBER MPSE
Sound effects editor Mikkel Nielsen
for
The Killing of Two Lovers having
fun with smashing up cars.
