Q4 2021

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62 C I N E M O N T A G E By Mel Lambert T h e s c i e n c e - f i c t i o n e p i c " D u n e : Part One" conjures far-off plane- tary worlds. But to make those worlds come alive, the sound-design team had to build some strange and distant worlds within editorial workstations and then on the dub stage. Early on, the team developed a variety of overarching design philosophies that helped established their world-building process. "The most useful [mantra] was HOW THE POST TEAM DEVISED THE WORLD-BUILDING TRACK BEHIND THE SCI-FI HIT one [sound designer] Theo [Green] came up with; we called it 'FDR - Fake Documentary Realism'," explained sound editor/sound designer Mark Mangini, MPSE. "This meant that, to pass muster, a designed or invented sound had to feel like we were making a documentary about the planet Dune, and these are the sounds that a boom mic might have captured." Green added: "I wanted to hammer h o m e t h e n o n - S t a r - W a r s a e s t h e t i c to everyone." It all stemmed from the longtime vision of director Denis Villeneuve, perhaps best- known for his acclaimed sci-fi epic "Blade Runner 2049." "I've been planning to make this film since I was a teenager; 'Dune' has been my fantasy for a long time," Villeneuve explained during a recent screening at Warner Bros. in Burbank. "But 'Dune' is such a complex story that, to tell it properly, I needed to film it in two parts." "Dune: Part From left: Ron Bartlett, Doug Hemphill, at Warner Studios' Stage 10. THE SOUNDS OF 'DUNE' F E A T U R E

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