MPSE Wavelength

Fall 2023

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M OT I O N P I CTU R E S O U N D E D I TO R S 47 and other undersea creatures … and maybe, some submarines that we need to keep track of. This was a fantastic collection of deep sea aquatic beast noises. The best came from Roger Payne, however. We would find him in Lincoln, Massachusetts … where my brother, who is also a sound person, also lives. We made arrangements to make a donation to his foundation in return for access to the archives. As would happen, my brother went in for three or four days, and culled the most amazing stuff. Some were so clean we joked that it sounded like they put a whale on an ADR stage. Deep deep ocean stuff, with no krill—which is the shrimp crackling that always spoils a whale recording. My brother sent us extraordinary recordings. I used many of those tracks, as recorded, for the sounds of real Humpback whales. I took many of those same recordings and processed them for the Probe speaking to the whales. I wanted the Probe utterances to have a linguistic connection to actual whale vocalizations, as if the civilization the Probe came from had taken a Berlitz course in Humpback. [AUTHOR'S NOTE: We are sorry to add that, during our editing of this article, Roger Payne passed away on June 10, 2023, at age 88.] I've been really lucky to work with these very progressive filmmakers. Leonard Nimoy knew the importance of that beat in the movie. The first time the crew of the Enterprise hears the Probe, they're on the bridge. Kirk says, "Put it on speakers, Uhura!" and she hits a button, and you hear these whale calls, and these processed whale calls over their sound system— Leonard wanted them to be filmed reacting to the sounds. We designed the sounds in advance for the crew to have an authentic moment as they're hearing them for the first time on set. I thought that was brilliant—that was Leonard Nimoy. SL: That's very cool. There's a line in the film where Kirk asks Spock if the whale's voice could be simulated, and he replies, "The sounds, but not the language. We would be responding in gibberish!" I often think that, if we ever do decipher what they're saying, and they watch this film—I can only imagine what your selects would translate to! MM: Well, because it was a chop- job—you know, almost like a ransom note that was Frankenstiened from tons of pieces of newsprint, it's probably a whale saying, "Please- 17-walk-watermellon-tomorrow!" I'm sorry if that's going to cause somebody to attack this planet! SL: I know, right? That's going to ensure the destruction of the Earth someday. Thank you for that. Not long after I started my tenure with you guys—by the way, thank you!—we got the Disney films. I'm sure you knew me well enough then to know how obsessed I was at the time with Disney. MM: I had an inkling. SL: Well, on Beauty and the Beast (1991), you graciously let me in on the process from the very beginning. I mean, normally it is the job of the sound librarian to work with the picture editor to supply them with the sounds they need before the supervisor can actually give their attention to the show. But I tagged along with you in the early spotting sessions … and we also had the opportunity to "raid" the old classic Disney Jimmy Macdonald Sound Effects Library together. Which was a huge thrill for me. You and Dave Stone (the Top: Supervising sound editor Mark Mangini with sound designer Tim Walston accepting the Golden Reel Award for Out- standing Achievement in Sound Editing Feature Documentary for Good Night Oppy. Bottom: Tim and Mark celebrate their Golden Reel win. Photos by Chris Schmitt Photography.

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