Issue link: https://digital.copcomm.com/i/1470109
and I begged Guillermo to please record these lines. And Guillermo and Bradley responded with firm "no"s. There was a lot of weaving and trying to denoise and get the balance needed. The bench scene with Stan and Grindle took a lot of work and a lot of back and forth between Chris and I. It's always so tricky in those scenes where you don't want to rework performance with technical ADR. You want to keep it as it was originally for the sake of the actor and for the sake of the relationship between the characters. Luckily, there was enough signal to work with, and we pulled it off. NR: I think that Grindle's Garden is probably one of those scenes that it's handy to be Canadian and know how winter sounds, ice crystals settling on snow, and to know how things sound a bit more brittle and a bit more harsh and violent. Even quiet things go a long way. Again, massive shout out to Dash who cut a lot of those wind gusts and swirls through that scene. It was really just a game of making sure that we had that content to bring out the body of a sort of frozen garden, but also subdued enough to hear things like crackling ice and the right quality of footsteps. And you know how there's almost this dead quality to how things sound when it's really cold outside? Yeah. It was a fun little dance that extended all the way from us to the mix team. And again, we're all Canadian. We're all used to freezing cold winters. With the winds, it's easy to play the additive game and put in too many sounds and each sound brings with it its own noise floor. And next thing, you might as well have a whole track of just noise. It was a matter of digging through the library to find the right sounds. If they had a bit of noise floor, cleaning them up, making sure that if we're going to have twigs tapping each other from a nearby tree, or if we're going to have just something that's some ambient artifact, a piece of metal tapping another piece of metal or something like that, it had to be really sparse so that it was just being carried by the gentle wind between gusts and then making sure that each gust was followed by a hail of crystals on the hedge tops and things like that. All this is just to say we needed to make sure that we were painting the gusts, but then leaving silence with character between them so that it really felt like you didn't hear the city, you didn't hear life, you didn't hear other people. This is a massive estate where one man and his bodyguard live. So that was kind of the name of the game there. MA: Jill, Nathan, it's been an absolute pleasure talking with you about your detailed work on this film. Thank you for your time. NR: It's been a pleasure talking with you. JP: Thank you. 80 I m ps e . o rg Last day of the final mix. From left to right: Nathan Robitaille, Jill Purdy, Bard Zoern, Cam McLauchlin, Guillermo del Toro, Christian Cooke, Kevin Banks, Mary Juric, Arturo Fuenmayor, J. Miles Dale, Douglas Wilkinson.