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DIRECTOR'S CHAIR www.postmagazine.com 20 POST OCTOBER 2016 becomes a power of its own. And in a big event movie like this, the sonic landscape is so critical to conveying emotion and feelings, both in the sound design and in the music. This is so psychedelic that the sound design has to be pretty wild too, and we're in the middle of creating that. But I also knew that it needed a strong score that would help ground it all, and we were fortunate to get [composer] Michael Giacchino, who's like a John Williams in what he can do thematically. I wanted a memorable score that wasn't just a support to the visuals, that adds another element, and he gave me that. And we're mixing in Dolby Atmos." Obviously you haven't done the DI yet, but how important is it to you? "Ben will be starting on it soon, and I get very involved. It depends on the movie how long you spend on the DI, and how laborious it is. Interestingly, Sinister was the most demanding DI I've ever done, because of how dark it was, and we pushed the limits. On this, we're going for a very bold look. We do some pretty crazy things with color throughout the movie, and I think it'll be Marvel's darkest movie. We shot part of it on 35mm in Kathmandu, and the rest on Arri 65, so we have a very specific, rich look." Did the film turn out the way you hoped? "It has. I feel it's hit the target I aimed for. Everything else — box office, the critics — is out of your hands." ILM, Framestore, Luma, Method and BaseFX all contributed to the film's VFX. Wyatt Smith and Sabrina Plisco collaborated on the edit.