Issue link: https://digital.copcomm.com/i/1532181
MONSTER MASH: Working on the reboot "was a complete dream project," says Lee Gilmore, the supervising sound editor. P H OT O : P H OT O F E S T 31 S P R I N G Q 1 I S S U E F E A T U R E By Kristin Marguerite Doidge W hen the first "Alien" film arrived in theaters in 1979, directed by R i d l ey S co tt w i t h S i go u r n ey Weaver in the iconic lead role, theater au- diences were captivated by a new kind of space epic. "A l i e n : R o m u l u s " i s a s c i - f i / h o r - ror-thriller that took the phenomenally successful "Alien" franchise back to its roots last summer, some 45 years later, by carefully referencing the nostalgia factor the fans live for. While scavenging the deep ends of a derelict space station, a group of young space colonizers come face- to-face with the most terrifying life form in the universe. For the sound team behind the new film, reminding people about the benefits of the immersive, thrilling experience of seeing a movie in the theater — not to mention their own superfandom — was an essential factor in making bold decisions to bring director Fede Álvarez's vision to life. "I think that we as sound people have almost a duty to try to keep people going to the cinema," said Will Files, supervising sound editor and re-recording mixer. "We want people to turn the TV off, leave their house, and go to the cinema for two hours. There's nothing like it." CineMontage recently caught up with Files and his colleagues: Lee Gilmore, who served as supervising sound editor and sound designer; Mark Paterson, re-record- ing mixer; and Polly McKinnon, who served as dialogue/ADR supervisor. They discussed how they recreated the vibe and texture of the original film, sonically and musically; what it was like going back to the source archives and unearthing old Nagra tapes to help them do it; and how they carefully and meticulously recreated the voice of the late actor Ian Holm's character for a new generation of filmgoers. CineMontage: What made this such a "dream" project for you? Files: I think it all started when I got a phone call from the studio, 20th Century, saying, "The director of one of our upcom- ing projects wants to take a meeting with you," and they didn't even really say what it was at first. It was because he apparently liked what we had done on "The Batman." Then they let us know it's Fede Álvarez,, and he's making a new "Alien" film. As soon as I found that out, I immediately called Lee and said, "They're making another 'Alien' film, and we get to interview for it," because Lee's one of the biggest "Alien" nerds I know. I also consider myself a pretty big "Alien" nerd, so we were very excited about just the prospect of another "Alien" film. It was clear from that f irst meeting that this was not only a project we wanted to work on, but a filmmaker we were now desperate to work with because he just has it. He's got that ideal thing for people like us working in sound: he sees sound as a full collaborator in the creative process. We came out of that meeting buzzing with excitement, and I think we probably went to work on it that afternoon. Gilmore: You rarely have those ex- periences in life where you're smiling so hard your face hurts: you get married, you have kids, you get to work on the next "Alien" movie— that kind of thing. It was a complete dream project because, as Will said, Fede was phenomenal. One of my favorite directors I've ever worked with, hands down. CineMontage: How did you help Fede bring his vision to life? Files: One of the coolest things about