Issue link: https://digital.copcomm.com/i/1500716
talented musicians and singers. There are layers of vocals, orchestra, percussion, rhythm section, and even Cristal Baschet! The instruments used are, for the most part, made from wood, as Alexandre was fascinated by the intricacy of how the wooden puppets were crafted and made to perform. An artisanal approach helped keep the music intimate but characterful. Guillermo's story, of course, needed music that could help lift the emotional aspect of the film and production team. Myself and Chris Cirino recorded the bulk of the sessions done here. JT: I was hired in December of 2021, as we were still navigating the pandemic. I worked on the film for about 10 weeks in total. Frankie Montaño pre-dubbed the effects on the new Hitchcock mixing stage at Universal and I pre- dubbed the dialogue on the Taylor Made Sound Stage. Then we completed the final mix of the film at Universal on the Hitchcock mixing stage. How involved were del Toro and Patrick McHale (screenwriter) and co-director Mark Gustafson? CS: Mark and Guillermo were in attendance at all the dialogue recording sessions—either in person or on Zoom. The writers would often be at the sessions as well, especially [during the] table read. From the perfectly panned crucifix being lifted to the aggressive clanking of a hammer, this film is so well mixed. What were your favorite scenes to work on and how difficult was it to balance the ups and downs of the story? JT: My favorite parts to mix overall were the musical numbers, but the specific arc of this film challenged us to always be aware of our dynamics. The film starts with such elegance and beauty, but before long, it deforms into the brutal bombing of young soldiers in their training facility. We had to bolster the emotional development without telegraphing the event itself. So, we stayed patient and waited for the right opportunities to play things louder and more dynamic. The background effects, for instance, were mostly in the front speakers until Reel 3, and then we started unfolding them so that they would be fully immersive by Reel 5. Alexandre Desplat scores everything from indie films to blockbusters. What's it like when you first hear his compositions coming through those studio monitors? Is all the music played by a live orchestra? Peter Cobbin and Kirsty Whalley: Alexandre spent an extraordinary amount of time writing the songs and detailing the score in his fastidious way. He loves detail and having the score treatment complement the songs was an opportunity he wanted to feel unrushed with. We recorded all the music both at Abbey Road and AIR Studios, but spent considerable time putting it together with Alexandre at our Sweet Thunder mix room in London. The songs and score are all performed live by a multitude of Composer Alexandre Desplat conducts the orchestra.