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 79 WE'VE GOT ENTERTAINMENT COVERED. FOLLOW US / VARIET Y Read. Watch. Listen. Share. Multiple Oscar nominee gets personal about her life , her craft and becoming more outspoken The Magic of Michelle Michelle Williams CANNES 2022 By Brent Lang HOME > FILM > AWARDS Mar 13, 2022 7:26pm PT 'Nightmare Alley,' 'Dune' Reep Noms At MPSE Golden Reel Awards Video & Articles Competitive Intelligence Data & Surveys Timely Commentary Special Reports The Best Minds in Media SUBSCRIBE TODAY variety.com/introducingVIP P R ES EN T ED BY A subscription service for the business of media INCISIVE ANALYSIS. VARIETY INTELLIGENCE PLATFORM more expensive. I say in Stanton's shoes, there was a clear divide, like, shoes are such a class divide. Clem talks about it early on in the Steakhouse and how you tell a lot about a man by his shoes. Once we get into the city, you've got these really tight, shiny patent leather, crisp, brand-new tight-fitting shoes and big, heavy wool coats or silk blouses, leather chairs. You've got velvet chaise lounges. At the hotel, things just start to sound really expensive, but also really isolated. So we had to come at it from two different angles. These are all the shiny objects that draw in Stanton's lust and his greed for things and for material wealth. The closer he gets to them, the further from the world he finds himself. The pinnacle of that isolation in wealth, is in Lilith's office, where you hear all the doors in her office are very vacuum sealed. The hotel, as well as the Copa's changing room. All of those doors have their own signature pressure exchange. When they open, we're passing from one isolated space into another. Everything is just pods where you're not really connecting with everyone else the way you are in the carnival. Lilith's office is very much the pinnacle of those shiny objects, those things that get dangled in front of the Stanton that he wants. MA: Lilith's office is seemingly a much more controlled set environment that we spend a decent amount of time in. Were there any challenges for the dialogue in here? JP: One scene in her office did take a lot of work. Cate Blanchett had an issue with her lav in some of the takes. The quality of Lilith was quite different from the quality of Stanton and because the room was so vast and so big, there wasn't a lot of space to get booms in. So there was a lot of editorial and mix work done in there. And in the end, it paid off. But it took a lot of work to get to that point, and we were determined to make it. MA: Another really interesting scene for background ambience and dialogue is in Grindle's garden. There's this real sense of isolation in the sound which is achieved with the layers of wind. The sound from the set must have been challenging with all the wind machines. Can you walk us though these scenes? JP: The garden scenes were the most difficult to deal with because of the wind machines, sometimes on, sometimes not. Stanton's lav had a very different quality than Grindle's lav. Something was going on with Stanton's coat and the lav, so it was muffled and a lot lower level. There were five lines of Bradley's that we flagged and Chris Cooke