Issue link: https://digital.copcomm.com/i/1541592
M OT I O N P I CTU R E S O U N D E D I TO R S 43 your work. It feels very musical. How do you collaborate with composers? OT: Sometimes extensively, sometimes less so. Effective sound design necessitates anticipating the score and avoiding conflict with it. And it goes both ways—good composers also understand how to construct a score that has room for the sound effects. So, it's a collaboration. It's not a battle. I guess the reason you feel that my audio work is very musical is because I focus heavily on manipulating frequencies to sculpt the aural space. And it's not just about working with frequency ranges, but also with rhythm. A sound can possess an internal rhythm, and there can also be a rhythm created between different sounds. By combining rhythm and frequency among sounds, sometimes in an almost unconscious way, and other times in a more deliberate and intentional manner, I strive to create a sound quality that is inherently musical. On occasion, you might even try to break that rhythm to evoke a different sensation or to generate a change in the viewer's perception. I did a movie with Denis Villeneuve called Enemy, scored by Danny Bensi and Saunder Jurriaans, which is one of my favourites where sound and music blended together in special ways. Working with Michael Giacchino in Society of the Snow was also really special. I feel that movie was a great dance between music and sound design. That's how it should be. Oriol recording and testing the 8-mic (bubble quad) BP3600 Audiotechnica at Circuit de Catalunya, Montmeló, during a MotoGP sprint race day May 26, 2024. Film: IDOLS. Oriol listening to the silence. Field recording day in the unique Jordà beech forest, La Garrotxa. March 14th 2014.