Issue link: https://digital.copcomm.com/i/1475409
the story. And they have a lot of key lines too. For these non-Thai adds, we obviously couldn't shoot 17 diff erent crowd groups so, we tried to best represent the key languages you were most likely to hear there. So, with our crowd supervisor Michael Maroussas, we shot British, American, Swedish, Australian, German, Japanese, Spanish and Turkish voice artists, lots of work for them to do as well! We recorded them both in their native languages but also in accented-English. This was done partially so we can hear what they are saying but also because between diff erent languages, English would have been most commonly used. MA: As the rescue develops, we go from busy crowds to more sparse crowds outside the cave but there is still a lot of detail to the people around us. How did you tackle these less busy scenes? RT: As the main rescue actually begins, even though they all know it is the only choice they have, the method is untested and full of danger. There is a very real chance that the boys might not come out alive. So, the decision is made to move all the journalists to an area further down the road, so they won't see the bodies coming out. The crowd around the cave gets less sparse, but what they are saying almost becomes more key. There is mounting, palpable pressure to get this rescue done before the flood waters rise again, so there's this small window to crack on and get them out. Ron asked us to use crowd to underline this feeling of tension. There are still odd callouts, but far less and very specifi c. That initial energy has shifted now, to getting on with it, working intensively, all the while becoming thoroughly exhausted! And as the waters rise and the cave entrance starts to evacuate, we feel that shift from the thinning out of the crowd, becoming much more focused on the key divers and their eff orts. MA: Once the Thai Navy SEALs arrive, we have a mass of water inside the cave as well as the continuing downpour outside. The detail of the surfaces doesn't stop with the rain. We have footsteps in mud, in light puddles of water, bodies wading through deeper water. How did the Foley team deal with these challenges? OT: Hugo Adams was the Foley Supervisor, and he always brings a lot to a project. Before any of us started he had some time off and went to an indoor scuba pool to record breaths and movement, both above and under water. He also recorded wildtrack footsteps in a cave system, creating a broad library of surfaces. That was used in conjunction with the Foley recorded in the theatre. It's really eff ective to have wildtracks recorded in a real space, and combine it with the nuanced performance that a good Foley Artist can do against picture. Andrea King, Sue Harding, and Oliver Ferris were the Foley artists, with Adam Mendez recording. They all brought a huge amount of energy and foreground focus to the soundscape. As the divers are wading through deeper water we covered this in FX too, to hear the extra weight of the water, and sell how cumbersome it is to move through— especially in scuba gear. MA: We have many electronic devices throughout the film with dialogue coming through them. There's CB radios, televisions, iPads, phones and car radios. Was all this content re- Capturing the unique sound of cutting bamboo for Thirteen Lives.