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70 C I N E M O N T A G E F E A T U R E with combinations of the many layers Theo had created, including multiple tracks of ancient voices. Theo also designed a low- end component that matched the inflection of the dry voice. The final version was very powerful and unique." Music was delivered via sub-mixes in 7.1-channel and other formats, arrayed as A/B pairs. "Weaving a powerful score with lots of dialogue design tracks was both challenging and very effective to convey the emotion of the film," Bartlett said. Zimmer's complex score, with its multi-voice, ethere- al choir, became a key element for the film's sonic texture. "We received tracks early in the pandemic." Additional 7.1-channel tracks delivered last January comprised extra material to support key moments in the film. "They offered a bolder level than most films and supported Denis' clear vision of 'Dune,'" Bartlett said. "And since everybody on the stage was an accomplished musician, we could maintain a high level of creativity and speak the same language." The scenes during which planetary worms seek to devour Paul Atreides and Jessica Atreides initially involved a lot of sound effects. "But once we heard the new music," Hemphill recalled, "Denis decided to let those extra tracks take the audience there, and so sound effects assumed a back seat." "Prior to printmastering, we went back in and rebalanced some key sound-effects moments," Bartlett added, "particularly the sand and worm sounds." Hemphill's favorite scene from "Dune: Part One" occurs during the final knife fight. "Paul Atreides is challenged to a knife fight/duel and, against all odds, wins," the sound effects mixer said. "It demonstrates that Paul is not just what he appears to be. There was no dialog, just the contact sounds and the shields. That decision to eliminate every thing unnecessary is what I love about cinema." Bartlett cites the rescue scene "with its diversity of spaces, both internal and exter- nal; it was an engaging, exciting sequence. I loved mixing it in Native Atmos, which gave it all the size and dimension it deserved. Denis used low-frequency effects very suc- cessfully; having that extra 'oomph' in the surrounds helped a great deal." "Atmos adds intimacy of character and feel," Villeneuve emphasizes. "What it THE TEAM: From left: Denis Villeneuve, Ron Bartlett, Theo Green, Doug Hemphill and Mark Mangini. P H O T O : C O U R T E S Y R O N B A R T L E T T SEE PAGE 81