Issue link: https://digital.copcomm.com/i/637797
41 Q1 2016 / CINEMONTAGE mixer Rudloff. Their work, also nominated for BAFTA and CAS awards, was the first major project they've done together. For Rudloff, who has six previous Oscar nominations, and two wins — The Matrix (1999) and Glory (1989) — the one for Mad Max: Fury Road is exciting. "Especially on a film you're so passionate about," he says. "And we're all Mad Maxers. Everybody really came together on the show and George is a lovely man to work with." Jenkins, who now has five nominations, and wins for The Last of the Mohicans (1992) and Out of Africa (1985), agrees. "To have a director with so much vision as Mad Max shows that you take big risks to get big rewards," he says. "At the end of the day, it's all George's vision." With the centrality of the movie's Rube Goldberg-like vehicles, Rudloff says they were treated as characters in the film. "George doesn't want to hear a truck because you see a truck," says Rudloff. "He wants it to have a purpose. At any moment of the film, a particular sound is going to be the most important sound at that moment, which he refers to as the top of the pyramid. We were constantly transitioning between dialogue, music or sound effects." Mad Max (played by Tom Hardy) has a tenuous hold on reality, Rudloff notes, making for another challenge. "He's at a sub-human level at the beginning of the film," he says. "During those moments, we used various treatments to hear the sounds as experienced from his point of view, to show that ragged hold on his humanity." Jenkins explains that because of the rough shooting conditions in Namibia, very little production sound was useable. "Probably 90 percent of the dialogue is ADR," he says. "We got almost no performances from production, so it was like starting from scratch, and George is super-specific about performances." Miller and supervising dialogue editor Kira Roessler, MPSE, replaced the dialogue when Jenkins and Rudoff took a break. "It was a beautiful building process to be involved in," Jenkins says. "We left Australia with an unfinished mix but great architecture, and then came back to the States and got the chance to refine it." Jenkins gives special kudos to the score by DJ Junkie XL (Tom Holkenborg). "The music is extraordinarily rich and has so many flavors to it," he says. "He knows how to do the big action percussive pieces, but there are also a number of adagios that are elegant and beautiful." The Martian, directed by Ridley Scott, was re-recorded at Twickenham Studios in London by dialogue/music re-recording mixer Massey and sound effects/Foley re-recording mixer Mark Taylor, who have previously teamed together on four films (Monument Men, Exodus, Nice Guys and Big Eyes). Their work on the film has also been nominated for a BAFTA award. This is Taylor's second Oscar nomination (after Captain Phillips) and Massey's seventh — as well as his fifth film with Scott and editor Pietro Scalia, ACE. "It is the award to be nominated for, isn't it?" notes Taylor. "Last time I came from London, I was blown away by the Oscars ceremony." Massey calls himself "Thrilled; it's always an honor to be recognized by your peers. Everybody puts his best effort into every film and to be recognized is a real privilege." Taylor credits supervising sound editor/sound designer Mike Fentum with getting into detail and creating specific sounds envisioned for the Mars environment. "The Hab, where Mark Watney (Matt Damon) lives, is only supposed Gregg Rudloff. Photo by Bob Beresh Mark Taylor.