Issue link: https://digital.copcomm.com/i/1529989
M OT I O N P I CTU R E S O U N D E D I TO R S 63 Do you have some favorite projects which you might consider define your unique sonic aesthetic? PA: I always get closely attached to the work I do, so it's hard for me to highlight one project at the expense of another, but I'll try! Christina Rosendahl's The Idealist from 2015 was definitely a creative milestone for me. As mentioned before, Christina is the director who I've worked with the longest and we collaborate very, very closely. The Idealist was the first film I mixed in Dolby Atmos. Christina and I experienced the brilliant soundscape of Gravity together and that convinced Christina about the magic of Atmos. The Idealist was also my first time working with the incredible German mixer, Lars Ginzel, who I've worked with many times since then and the Foley was done by Heikki Kossi, who I've worked with since 2012. Now, Heikki is working at Skywalker Ranch but for more than 10 years, he did the Foley for every film I worked on. I love those kinds of ongoing creative collaborations on my sound team. The Idealist was about a radio journalist and because it was so based on sound, the sound design became a very important part of the sonic storytelling. Another key project for me, The Cave from 2019, was the same in the sense that the sound was telling the story—The Cave is a documentary about an underground hospital in Syria and so much of the storytelling was based on the sounds that the characters hear but don't see, noises and echoes from the world above. The Cave is one of several films I've worked on at Skywalker Sound and being there is always like a dream come true—the mix of The Cave was done by sonic wizard Tim Nielsen who I've worked with on several projects as well. We just recently finished a film called Tim Nielsen and Peter Albrechtsen at Skywalker Ranch finalizing The Cave mix, August 2019. Peter Albrechtsen, Heikki Kossi, and Nicolas Becker at Midnight Sun Film Festival in Finland 2018.