Issue link: https://digital.copcomm.com/i/1515786
41 W I N T E R Q 4 I S S U E F E A T U R E Weiser: I was looking at those areas that were not understandable but where I could hear that the words were actually there. Sometimes just reediting and moving syllables and changing the pacing of the sentence or the word could make it far more understandable. That worked the other way around with sometimes taking the English phrase of the actor and changing it around a little bit to make it sound more Italian. Nelson: When I sit and do dialogue with Michael, we go into this really intense place where we're studying every single line, every single syllable, and making sure, "Are the inflections correct?" On "Ferrari," for instance, because of the decision he made to have the American English language with an Italian accent, there were areas where, in order to get clarity, we would go inside syl- lables in the editing machine and open up. We're talking tiny, tiny microseconds here, but just to allow your ear to recover slightly so that you could make sense of a word if it was a little bit too tightly delivered. CineMontage: Pietro, the film alternates between racing footage and interior scenes revolving around Enzo, his family, and his relationships. How did you approach each editorially? Scalia: Because of the schedule or what- ever, Michael shot most of the dramatic scenes in the first part of the shoot. The big racing came much later in the shooting schedule. But what he made clear from the beginning was that he wanted to have two different kinds of contrasting looks and energy: between the domestic, dramatic scenes between the actors inside the houses and inside the apartments, and the racing. He said, "I'm going to shoot them differ- ently. It's going to have a dierent energy, a different feel, a different dynamic." You can see that these two worlds clash, from a very idyllic, early-morning waking up in Modena Valley to very contrasty, high-en- ergy, high-octane, tight, shaky, driving and action shots. Nelson: What I loved about it, from a sound point of view, was you've got these intimate dialogue scenes, which we made fairly claustrophobic in a sense. Not a lot of the outside world came in. You really felt like you were just watching these people, almost on-stage. It had that sort of intensity to it. And then there would be a cut, and you'd roar back into the world of racing. It gave us tremendous fun to play with these levels and have these really powerful cuts. CineMontage: Tony, what was Mann hoping to hear in some of hose interior scenes? Lamberti: Michael is not the kind of guy who wants a bunch of stu layered in there and then wants to pick and choose in the final mix. He wants to talk about it ahead of time and be very, very specific about what he wants: "OK, we need to enhance a little bit of this here, so let's have a little Foley, and then let's stay out of the way here . . ." Having worked on "Blackhat" with Michael, I knew that when dialogue is going on, there's not a ton of backgrounds. Take the scene where the maid serves them soup, leaves the room, and then they have their little talk about the financial status of the company. In a regular mix, you might hear the maid rummaging around. Well, Michael doesn't want to be distracted by any of that. He's like, "I just want to focus on the words." CineMontage: Pietro, what was it like cutting the racing material? Scalia:It was exciting to get your hands on it. The Ferraris driving through the Modena square, showing both the medieval contrasted with these red cars, from dark alleys and through the sunlit square at incredible speeds — that was very thrilling stu. CineMontage: Paul, how did the score evolve on "Ferrari"? Paul Apelgren: I came on as part of [composer] Elliot Goldenthal's team. He was originally slated to do the score on this movie. He had worked with Michael Mann a number of times before in the past. For various reasons, Michael decided to move forward with other composers, and Daniel Pemberton was brought in at some point. Daniel was amazing because he came in and had very little time. We had already started the dub, and then Daniel came on. I think he wrote the score in seven days. We had it orchestrated and recorded it in two days. L a m b e r t i : [ P e m b e r t o n ] c a m e i n super-late in the process, but just did an amazing job at banging out these cues that then Paul Apelgren, our music editor, could tie together. Daniel made these modules that could be put together in order to give a connective tissue to tie it all together. That was just a brilliant move because Michael loves to tear down to the component parts of things: "OK, great — let me hear the strings. Let me hear what the brass is doing. Let me hear what the percussion is doing." When Michael would want to change some- thing, Paul was masterful in being able to stick it together so that Michael could have SEE PAGE 61 Lee Orlo. Paul Apelgren.