Issue link: https://digital.copcomm.com/i/1524863
M OT I O N P I CTU R E S O U N D E D I TO R S 131 Skywalker Sound. MSA: I probably generally like the quality of sound in movies better than in video games, so when I need to find the first sounds, I often start there. I remember when I was making a demo for Wolfenstein II: The New Colossus. I wrote Ann Kroeber and told her that I needed some foghorns, and it would also be cool to have some alligator sounds. And I also asked her if she had anything that sounded like an evil machine? The sounds become my instruments that I play with. And then when a foghorn sound is filtered through an alligator sound, it becomes a whole new instrument. And working with these sound designers and Foley artists from the world of film, it's like the sounds are meant to be cinematic sounds from the start. PA: After working on Inside, you became freelance and worked on projects worldwide. Do you feel that you have the same kind of creative freedom when working on international projects? MSA: Absolutely. Most of the things I've done are a bit experimental, so if people contact me, it's typically because they want something like that. It may sound surprising, but on the big, big productions, there's actually a lot of freedom. It's often been the weirder, the better. At the same time, things have also changed after COVID, so you can sit in different countries and have the same access and communication as if you were in the same studio as the rest of the crew. There is a lot of freedom. Technology has also evolved in terms of what is technically possible with sound in video games. I actually think the responsibility for creating innovative sound lies mostly with ourselves now, because there's no external mechanism that means we can't do it the way we want. It's an exciting time. Martin Stig Andersen– Bachet recordings for Wolfenstein II: The New Colossus (2017).