Issue link: https://digital.copcomm.com/i/1525212
STATION TO STATION: Making "Ripley" was more like making a feature film, Lee says. P H OT O : N E T F L I X 31 F A L L Q 3 I S S U E F E A T U R E known for. "It was a very strong team dynamic," Lee said. "We always joke that Steve is sort of the unofficial third editor of the show because he began his career as an editor, and he's always said that it's the part of the process feels most comfortable with and has the most fun with." As for capturing the sounds of Italy and adding dimension to the story, Rogers said each episode has its own creepy soundscape under the end credits that preview the next episode, thanks to the talents of the Foley and sound teams. "We knew as we were creating these things — doors closing, footsteps, creaking — that very few people were going to hear them, but they're there," he said. "And then Episode 8 has something too, so we'll leave it to anyone who wants to listen to the end of Episode 8 to decide what they think." The show 's music selection (led by music supervisor Kier Lehman) was also an important way for the editors to build energy around the freewheeling and fun 1960s Italian culture that sets the stage for the darker moments that happen later on. Songs from Italian singers Mina and Tony Renis, for example, were specifically script- ed, while others were added to the final mix through experimentation, with an ear for authenticity. The same went for the foreboding score composed by Jeff Russo, Lee said. "He found his own way of interpreting that classical sound, but I think that energy of a Bernard Hermann score — a suspense thriller Hitch- cock-type score — is in the bones of what he created," he added. After the long road to the show's pre- miere this spring, Rogers said the response from fans and critics has been truly special. "There's a feeling of relief because after all that work and all the sort of obsessive detail that you sweat over, we felt like, 'well, this is amazing.' But we're very close to it, and so, to actually have it out in the world and see that people are responding to those things that we all were working so hard on, it's gratifying," he said. And it's Zaillian's meticulous attention to every frame that the team will remember most about this project and will take with them into the future: "All of these things, like the source music and the score and the sound design, and the way things look – every detail – we'll all take that kind of discipline and attention into the next job." ■ 'It was a very strong team dynamic.'