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40 CINEMONTAGE / Q2 2017 water sounds. We make separate passes for each character in a scene, to provide isolated tracks for the dub stage. Our Foley artists take on the key mannerisms of each character." Voss delivers 40 Foley tracks to the editorial team, including 16 of footsteps, between 12 and 20 of props and four of movements. "I love going to the dub stage when I can, to learn more about how the tracks are used in the soundtrack," says Voss. "We like to secure feedback and comments about what might not be working; we can always adjust to those requirements and redo the tracks, if necessary. In fact, our greatest hurdle is how to turn the show's abstract world into reality." SOUND DESIGN "Paula Fairfield was the top of my wish list when I came aboard," Kimmel states. "Other sound designers were offered to me, but I held out for Paula, whose work I knew from Lost and feature films." Her off-the-wall approach to design, "with an emphasis on new and unique sounds, was perfect for vocalization of the dragons, White Walkers, giants and other creatures," the supervising sound editor says. "She also developed environments for those and other characters, including sounds for the weather during the battle scenes in the Season Five episode 'Hardhome.'" "As well as the three dragons, wolves and key creatures, I focus on the essential conceptual elements," Fairfield explains. "I also look after the Warg transitions [as characters enter the minds of animals and perceive the world through their senses], in addition to dream sequences. There was a complete language imagined for the White Walkers called Skroth that we experimented with. But we quickly found that it demeaned them to actually speak, so I developed the idea of having them speak through the forces of nature — ice cracks and great earth movements — to make them omnipotent." To remain focused on the individual characteristics of the three CGI-generated Game of Thrones. HBO