Issue link: https://digital.copcomm.com/i/1544300
M OT I O N P I CTU R E S O U N D E D I TO R S 67 The world inside the computer felt alive because it had its own acoustic logic—a language of pulses, tones, and digital textures that supported the visual design of the film. For sound professionals, Tron became a landmark moment. It demonstrated that sound design could shape a fictional universe just as profoundly as cinematography or visual effects. More than 40 years later, that philosophy continues to influence science fiction filmmaking. recently spoke with Norwegian supervising sound editor and sound designer Tormod Ringnes, MPSE about his work on the newest installment, Tron: Ares. It became clear that he and his collaborators approached the project with both reverence for the original film and bold ambition. For Ringnes, and Baard H. Ingebretsen and Addison Teague co-sound supervisors, sound design begins with storytelling. Working alongside re-recording mixer Ron Bartlett and director Joachim Rønning, he helped craft a sonic environment designed to feel immersive, powerful, and emotionally connected to the narrative. From the earliest creative discussions, the filmmakers focused on how the audience should experience the world of the Grid. Director Rønning encouraged the sound team to think about emotional perspective as much as spectacle. The goal was not simply to make the film sound large, but to guide the audience through a sonic journey that reflected the story's tension and scale. This approach encouraged the team to explore dynamic contrast. Massive action sequences could only feel powerful if quieter moments allowed the audience time to reset their ears. Ringnes explained, "When we do sound for films, it's all about storytelling and emotions. We want to keep the audience engaged. For - I this film, it was a different approach because we had Trent Reznor and Atticus Ross of Nine Inch Nails, and they wanted to do something totally different. We had lots of meetings because we really wanted to make the experience for the audience different." From the earliest conversations, the filmmakers knew they wanted audiences to feel as if they were inside the Grid. The soundtrack needed to be massive and cinematic—but never exhausting. That meant designing moments of scale without sacrificing clarity or emotional focus. Tormod Ringnes stated, "Dialogue is the king. If the audience cannot understand the dialogue, they lose the story." Large-scale science fiction films often push sound systems to their limits. Explosions, engines, and music can quickly combine into a wall of sound that overwhelms the audience. Ringnes approached the challenge differently. For him, clarity and emotional pacing were just as important as scale. He added, "You can make something loud, but loud doesn't always mean powerful. Sometimes it just becomes tiring." Ringnes expands, "So for us, it's like being bold in using dynamics. The first spotting session for Tron: Ares and meeting with the composers Trent Reznor, Atticus Ross, and music engineer/producer Jacob Moreno, together with Director Joachim Rønning.