Issue link: https://digital.copcomm.com/i/1529989
74 M PS E . O R G around, so even when you have a quiet low rumbling thunder, then it's almost like something that's moving around the room and you can't really tell what it is, but it makes the scene come alive. The thunder was also used both as upfront elements and as ambient textures, slowing down thunder sounds and running them through different kinds of reverbs, almost turning them into musical elements. In other words, the surround speakers both created an acoustical space and a subjective space at the same time. Those kinds of details would usually just wash out in a traditional 5.1 sound mix. I love the spatial quality of sound. I often find sounds more interesting when they're not recorded super close but have a natural reverb to them or create vibrations in other materials, like things rattling and shaking. Texture is a key word for me when it comes to sound. I have my own personal signature sound, a scream from a child I recorded 25 years ago when I went to film school. It's the sound of an excited child playing on a street around the block from me, yelling so loud that it resonates through the buildings. I have no idea how the child looks but I love that sound—it's full of life and at the same time, it has a very special sonic musicality. That sound can be heard in about 100 movies I've made. It's my Wilhelm. Yes, I love film sound history. And then at the same time, I feel like there is so much left to explore. Doing sounds for a film is an adventure for me. It's been like that for almost 30 years now, and I don't see myself stopping anytime soon. Peter Albrechtsen and Heikki Kossi at the 2018 Golden Reel Awards. Peter was a triple nominee.