Issue link: https://digital.copcomm.com/i/1470109
m ot ion p ictu re s o u n d e d i to r s I 71 or some version of them through the film because those two, at least to me, symbolize where Stanton came from and where the consequences of his greedy choices were going to take him because in the end, there's that beautiful shot of Stanton laying on the floor of the train car in the hangman pose upside down. You get this massive train horn, cut to black, then you hear it drift over the silence and continue and warp into another flashback. Then we wake up at the hobo camp that eventually leads him where we go. This is a lesson I can easily say I learned from Guillermo; finding opportunities for symmetry and planting seeds so that sounds can mature, blossom and develop into something meaningful later. MA: When you're playing with these sorts of scenes, where you have an emotion you're trying to convey which is not necessarily the reality of what we see. Do you find that the sound can influence the cut? NR: I mean, I'd love to think that, but I can't make that claim. Guillermo doesn't really care where the good ideas come from as long as they all wind up in the film. I love to think that the stuff that we're sending to the picture editors helps the film take shape the way that they want it to. Ultimately, it's going to be one of those really nicely blended collaborative efforts. MA: Was part of this collaboration you sending temp mixes and fold downs to the picture department along the way? NR: Most of the bigger scenes in Guillermo's movies go through a lot of editorial evolutions and he likes to include sound in that process. By the time we get to our first temp mix, he's familiar with the elements we have at our disposal and can offer direction based on a deeper understanding of what's in the track. There were a lot of scenes where I would build out a crowd with as much detail as possible using my sfx library (The Copacabana is a good example) once my pass was close, I would send a print to Jill and she would punch it up using ADR/ When Lilith (Blanchett) pulls her little gun on Stan (Cooper) in her planned moment of betrayal, she fires it grazing his ear. Dr. Lilith Ritter (Cate Blanchett) and Stanton Carlisle (Bradley Cooper).