Post Magazine

January 2015

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Page 35 of 51 34 POST JANUARY 2015 hat better way to spend a cold winter day than by taking in a good fi lm — or four. From January 22nd to February 1st, the 2015 Sundance Film Festival, ideally located in the oppo- site-of-tropical mountain town of Park City, UT, o ers cozy theaters for audi- ences seeking shelter from mainstream fi lms. With so many intriguing art-centric indies, it's hard to choose which ones to see. These four fi lms promise audiences a great story, captivating performances, and a clever approach to sound that overcomes the typical time and budget constraints associated with indie fi lms. THE D TRAIN Jay Nierenberg, owner of Sublime Sound in Los Angeles ( is supervising sound editor on The D Train, written and directed by Andrew Mogel and Jarrad Paul. The D Train, in US Dramatic competition at Sundance, stars Jack Black as Dan Landsman, the head of a high school reunion committee who is determined to convince popular fel- low-classmate and TV advertising 'star' Oliver Lawless (James Marsden) to at- tend the reunion to increase attendance. With their directorial debut, Mogel and Paul have created a genre-defying fi lm, says Nierenberg, that combines comedy with poignant and surprising drama. Nie- renberg worked on the fi lm at boutique post production facility Sonic Magic, also in Los Angeles ( Though Mogel and Paul are fi rst- time directors, they're no strangers to the fi lm industry. The two seasoned writers worked on the screenplay for the award-winning comedy Yes Man (2008), starring Jim Carrey. As di- rectors, they may not have been well versed in the audio post process, but Mogel and Paul trusted Nierenberg to guide them through. "They were really open to all my ideas and were actually very good at communicating what they wanted," says Nierenberg. While most indie fi lms have tech- nically-challenged production tracks, Nierenberg reports The D Train was well recorded, and in fact, well-made in every respect. Even still, a fair amount of ADR was recorded, which is also surprising for a low-budget indie fi lm. The ADR, re- corded at Sonic Magic, wasn't needed to replace a lot of unfi xable lines, but rather used to add lines and vocalizations to enhance the story. The D Train's well-paced schedule allowed Nierenberg to have working sessions with the directors where MAKING NOISE AT SUNDANCE Four new indie fi lms promise great stories, captivating performances and smart sound Audio editing and premixing on Glassland, featuring Jack Reynor, was performed using Pro Tools 10 HD. W

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