Issue link: https://digital.copcomm.com/i/1529989
64 M PS E . O R G in his car, so I made an abstract and kind of musical collage of car sounds, car door slams, and metal creaks which felt like the main character's emotional theme. I created this sound early on during the picture-editing process and Robert loved it so much that he put it everywhere in the edit. Also in a lot of places I would have never thought of. A composer friend wrote to me afterward and said, "Peter, you're now the John Williams of car doors!" I thought that was incredibly funny. The last film I want to highlight is last year's Evil Dead Rise. Working on an Evil Dead film was a dream come true as I was a massive teenage fan of especially, Evil Dead II. Evil Dead Rise is the biggest project I've ever been part of—I worked on it for eight months—and it felt like everything just came together in the best possible way: The director and scriptwriter Lee Cronin is incredibly enthusiastic about sound. I worked with an awesome sound team and the creative interplay between all of us on the film was really wonderful. I got access to lots of the old Evil Dead sound effects which was really fun and at the same time, Lee really wanted to make this a very modern, powerful film that enveloped you in a way that you can only do now, with the technology that's available now. I'm very proud of the final track and when the film had its world premiere at SXSW in Texas, I even got to meet Sam Viktor, which I'm really proud of. I did the sound design together with Heikki and with French audio genius Nicolas Becker. I need to mention a couple of other titles as well. The Killing of Two Lovers from 2020 was a big project for me. It was directed by Robert Machoian, who's become another director who I work with all the time. Robert really, really loves sound and for The Killing of Two Lovers. He had this idea of not using any score but wanted to utilize the sound design as score and I think we really made something special. Whenever I read a script or see a first cut of a film, I always think of which sounds could describe the inner world of the main character— and not just which sounds are surrounding the character—and for The Killing of Two Lovers, the sound I created for this internal world became a sonic theme throughout the film. The main character spends a lot of time Peter Albrechtsen playing a waterphone in Nicolas Becker's Paris Studio 2018