Interview With "The Creator" Sound Team

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[00:02:13] [SPEAKER_09]: Hello everyone, this is the Next Best Picture Podcast.

[00:02:16] [SPEAKER_09]: I'm Giovanni Lago and today I am joined by the sound team of The Creator.

[00:02:22] [SPEAKER_09]: So specifically I have Eric Adel, a supervising sound editor, sound designer.

[00:02:27] [SPEAKER_09]: I have Ethan Vandoren also supervising sound editor and sound designer and also Ian Voight,

[00:02:33] [SPEAKER_09]: production soundmaker.

[00:02:34] [SPEAKER_09]: Thank you all for joining.

[00:02:36] [SPEAKER_09]: Yeah, good to be here.

[00:02:39] [SPEAKER_09]: First I just have to say congratulations on the recognition by the academy.

[00:02:43] [SPEAKER_09]: I think it's incredibly well deserved work.

[00:02:46] [SPEAKER_09]: How are you guys feeling right now?

[00:02:48] [SPEAKER_09]: What's the mood in the air right now?

[00:02:50] [SPEAKER_04]: Well, I'm feeling jazzed.

[00:02:52] [SPEAKER_04]: I mean the nomination was kind of like a surprise.

[00:02:58] [SPEAKER_04]: There's so many films out there with giant campaigns and so it was a lovely surprise to be nominated.

[00:03:08] [SPEAKER_04]: And now of course we've been in this sort of limbo period before the actual awards,

[00:03:13] [SPEAKER_04]: which is a unique experience too.

[00:03:16] [SPEAKER_04]: But yeah, very fun.

[00:03:19] [SPEAKER_07]: Yeah, I think we're all very excited.

[00:03:22] [SPEAKER_07]: For me, certainly being the first nomination for an Oscar, which is very, you know, I'm very proud of the work

[00:03:29] [SPEAKER_07]: and I'm very proud of the guys behind this whole project, which is, you know,

[00:03:35] [SPEAKER_07]: I couldn't have asked for a better bunch of people, I must say.

[00:03:38] [SPEAKER_09]: Awesome.

[00:03:39] [SPEAKER_09]: We're talking about The Creator.

[00:03:41] [SPEAKER_09]: Very expansive, large science fiction film.

[00:03:45] [SPEAKER_09]: How early in the process did you all become involved?

[00:03:47] [SPEAKER_09]: Was it very much so in like posts, like Gareth Edwards talked to you all?

[00:03:51] [SPEAKER_09]: Or did he bring you on very early and to try to get an idea of what the sound of the film will be?

[00:03:56] [SPEAKER_02]: Yeah, we actually first started talking to Gareth about the movie about six years ago.

[00:04:05] [SPEAKER_02]: And he, you know, he talked about how he wanted to do this movie in a totally new way.

[00:04:14] [SPEAKER_02]: And then he ended up taking a scouting trip to Southeast Asia and he was shooting

[00:04:23] [SPEAKER_02]: images himself.

[00:04:25] [SPEAKER_02]: And then he brought the images back and he cut the footage together into sort of a proof of concept

[00:04:33] [SPEAKER_02]: piece. And then he gave it to ILM to basically start applying the sci-fi elements

[00:04:44] [SPEAKER_02]: to the images that he has shot, you know, in all these real locations with real people.

[00:04:50] [SPEAKER_02]: And he also gave it to us to do a pass on the sound.

[00:04:54] [SPEAKER_02]: And that was at least five years ago.

[00:04:57] [SPEAKER_02]: Do you know exactly how long ago that was?

[00:05:00] [SPEAKER_04]: Maybe not quite five years ago, but it was maybe a year before production had started.

[00:05:07] [SPEAKER_02]: So yeah, so that was basically our introduction to what Gareth had in mind.

[00:05:14] [SPEAKER_02]: And we were kind of blown away really, especially when we saw the whole concept which had never

[00:05:23] [SPEAKER_02]: really been done before of basically applying the visual effects afterwards to, you know,

[00:05:32] [SPEAKER_02]: to all these real footage, all these real images shot in real locations.

[00:05:38] [SPEAKER_02]: This sort of guerrilla style of filming, you know, a high concept big sci-fi movie

[00:05:48] [SPEAKER_02]: was something brand new. And we were just kind of blown away when we saw it put together.

[00:05:57] [SPEAKER_02]: And, you know, 100% in from the moment, you know, we saw that.

[00:06:03] [SPEAKER_02]: And he used that piece to go out and basically get the funding and the green light to shoot the movie.

[00:06:12] [SPEAKER_09]: That's incredible, especially, you know, compared to a lot of productions that are being made

[00:06:17] [SPEAKER_09]: now, you have all these blockbusters getting like $200 million plus.

[00:06:21] [SPEAKER_09]: They have bid a leeway in terms of all these departments.

[00:06:24] [SPEAKER_09]: I mean, the creator was around what like $80 million and it looks immaculate.

[00:06:29] [SPEAKER_09]: With those budgetary restrictions, did you feel a sense of pressure when it came to

[00:06:36] [SPEAKER_09]: delivering the immersion of the sound? Or was it just that your talkings with Gareth

[00:06:42] [SPEAKER_09]: felt that everything was already pre-planned? You had already sense when you came in that

[00:06:47] [SPEAKER_09]: you guys were just able to go straight into it.

[00:06:49] [SPEAKER_04]: Ian, you should start with the production side of that.

[00:06:55] [SPEAKER_07]: Yeah, I got a phone call a couple years, well, 2022 later from Gareth to set up a meeting

[00:07:03] [SPEAKER_07]: with him and I met him and he explained how he wanted to shoot this and he was all going

[00:07:08] [SPEAKER_07]: to be shot on very lightweight cameras, DSLR cameras which are prosumer cameras which

[00:07:14] [SPEAKER_07]: had no syncing ability, no time code and basically explained that that's the way he

[00:07:21] [SPEAKER_07]: wanted to shoot this with a very small crew. We were to go to shoot primarily in Thailand

[00:07:28] [SPEAKER_07]: for the bulk of the film and further to that he explained that actors were on board

[00:07:33] [SPEAKER_07]: that we're all going to be a very small fast moving interactive unit and so from that moment on I

[00:07:39] [SPEAKER_07]: realized it was going to be something unique and it turned out to be so. I mean we finally

[00:07:46] [SPEAKER_07]: we managed to get all the technical problems sorted out which was very useful because

[00:07:52] [SPEAKER_07]: Gareth doesn't like using sticks, slates or anything like that and basically I devised a

[00:08:00] [SPEAKER_07]: package that enabled me to basically keep up with him because Gareth operated the camera all

[00:08:06] [SPEAKER_07]: the time anyway so which is amazing when you consider he wrote produced and directed the film

[00:08:12] [SPEAKER_07]: which is like unheard of as far as I'm concerned. I've never seen anyone like, I think Michael

[00:08:18] [SPEAKER_07]: Bay sometimes operates the camera when on these films but so it was a unique experience and

[00:08:24] [SPEAKER_09]: it was grueling but fun I have to say. Continue speaking about Gareth, it's funny you mentioned

[00:08:31] [SPEAKER_09]: Michael Bay I think there's a great director who really wants to immerse their audience cares

[00:08:37] [SPEAKER_09]: about making something with scale and sound contributes so much to that. Michael Bay,

[00:08:44] [SPEAKER_09]: Gareth Edwards, Adelie Villeneuve especially when you guys were in the middle post-production

[00:08:50] [SPEAKER_09]: you know you're working on these sounds was Gareth very hands-on or was he just like I trust

[00:08:56] [SPEAKER_09]: you all you guys are very competent and very excellent at your jobs and he gave you leeway to

[00:09:01] [SPEAKER_09]: really experiment and flow when it came with creation of sounds for this movie and the mixing

[00:09:07] [SPEAKER_04]: of it. I would say Gareth did both things he gave gave us a lot of leeway creative freedom

[00:09:17] [SPEAKER_04]: but was also very very engaged for about a year in the post-production of the sound

[00:09:24] [SPEAKER_04]: coming in here you know all the time every week to go through things and see what

[00:09:31] [SPEAKER_04]: we've come up with and then discuss it and keep refining it. He's one of those directors that

[00:09:36] [SPEAKER_04]: really truly embraces sound as half of the cinematic experience and for this universe that he

[00:09:45] [SPEAKER_04]: created for the creator sound is just such a critical sort of element of creating that reality

[00:09:52] [SPEAKER_04]: and that believability from sort of the sounds of nature from these you know very real locations we

[00:10:00] [SPEAKER_04]: recorded in Thailand, Cambodia, Vietnam, Laos and applied those sort of natural you know nature

[00:10:08] [SPEAKER_04]: sounds lived in reality sounds to the picture and then on the other end of the spectrum completely

[00:10:17] [SPEAKER_04]: constructed sound design of this futuristic world that Gareth described as well you know in the

[00:10:25] [SPEAKER_04]: future not everything is the most futuristic thing ever you know there's there might be

[00:10:31] [SPEAKER_04]: the newest tech but then you might have more the Sony Walkman version of robots for example

[00:10:36] [SPEAKER_04]: so there's a whole spectrum of technologies that we had to invent and play with and Gareth was part

[00:10:45] [SPEAKER_04]: of it the whole time he's super into sound and one thing I love about the way he directs sound is

[00:10:52] [SPEAKER_04]: he doesn't ask for you know this should sound like this movie or this moment from this other

[00:10:59] [SPEAKER_04]: movie his direction is very much more like trying to evoke a feeling and so like the direction for

[00:11:07] [SPEAKER_04]: the Nomad weapon which it's this space station that shines these blue beams onto the train to

[00:11:15] [SPEAKER_04]: do targeting for missile strikes for AI bases his direction for the sound of those beams was

[00:11:21] [SPEAKER_04]: well it should sound like it would give you cancer if you put your hand in the

[00:11:29] [SPEAKER_04]: exactly so it's just like wonderful direction like to you know because that just opens our minds

[00:11:35] [SPEAKER_04]: to all the possibilities of okay how do you convey those sort of things sonically

[00:11:42] [SPEAKER_04]: so super amazing to work with Gareth in that way yeah just thinking about Gareth's

[00:11:49] [SPEAKER_02]: engagement you know another another thing that springs to mind immediately is you know he would

[00:11:57] [SPEAKER_02]: come into the into the design room with us and you know when when talking to us about how he wanted

[00:12:04] [SPEAKER_02]: things to sound oftentimes he would just make the sound himself um and that is like so

[00:12:13] [SPEAKER_02]: that's so perfect um you know we were working on the the new asia robot police and he came in

[00:12:21] [SPEAKER_02]: to check out what we were doing and he's like yeah actually i want him to sound like this and he

[00:12:25] [SPEAKER_02]: actually performed it and it was so it was so perfect we just recorded it right on the spot

[00:12:33] [SPEAKER_02]: and started working with that and that um in the final film that's really the sort of spine

[00:12:39] [SPEAKER_02]: of of the language and the vocals for those characters wow there's certain things i want to

[00:12:46] [SPEAKER_09]: touch on that both of you mentioned i'm glad you mentioned the nomad scanner because i i literally

[00:12:51] [SPEAKER_09]: have my notes and that's like the one that comes to mind because it's got this vibration to it

[00:12:57] [SPEAKER_09]: and it's controlled yet so violent and i the rapidly changing frequencies is what stood out to me

[00:13:03] [SPEAKER_09]: and i just caught my mind so that's excellent and you mentioned the robot so i do want to

[00:13:09] [SPEAKER_09]: tie into the creation of the variations of robots because i i think you know garith edwards the

[00:13:16] [SPEAKER_09]: way he implements sound also strengthens not just immersing an audience into the film but the

[00:13:22] [SPEAKER_09]: story in this universe for the creator you have these variations of robots you know um

[00:13:27] [SPEAKER_09]: the humanoid eskero like ken was an obvious character um you have the the bomber droids which

[00:13:33] [SPEAKER_09]: have these deeper tones and they're self-bomb you have the ones that are in new asia that have like

[00:13:39] [SPEAKER_09]: the performance of they feel so human they're chilling the boats with the straw hats posted up

[00:13:44] [SPEAKER_09]: so i'm curious of how you used sound to give a lived in sense for these robots and in a way

[00:13:54] [SPEAKER_04]: show their humanity through sound yeah well like you said there's sort of this um spectrum

[00:14:00] [SPEAKER_04]: of robots in the movie from sort of the most rudimentary to the most advanced and alfie being

[00:14:07] [SPEAKER_04]: the most advanced version of ai robot in in the film in that spectrum on the most rudimentary side

[00:14:16] [SPEAKER_04]: uh like for the bomb robots for example you know they're kind of like these big tubby heavy

[00:14:24] [SPEAKER_04]: they're not ai but they're more like speak and spell so like for their for their voices we used

[00:14:33] [SPEAKER_04]: kind of these retro analog techniques like the digital version of vocoders which was a sound that

[00:14:42] [SPEAKER_04]: garith he couldn't really put his finger on exactly how to do it but he could he told us you know

[00:14:48] [SPEAKER_04]: in thx 1138 you know there's this sound um of some of the vocal treatments that has this

[00:14:54] [SPEAKER_04]: interesting sort of like nostalgic sci-fi quality and and that was those sort of sounds were done

[00:15:01] [SPEAKER_04]: by walter merch using like you know 70s era analog vocoders so we re-produced those digitally

[00:15:10] [SPEAKER_04]: to create sort of those um more synthetic processed vocals for for the bomb robots

[00:15:16] [SPEAKER_04]: and of course you know they're they're dangerous and they're heavy and we kind of as part of that

[00:15:22] [SPEAKER_04]: sequence where they run out across the floating village bridge uh to try to blow up alfie

[00:15:29] [SPEAKER_04]: we used sort of sound as sort of the like the jaws theme and it's the heaviness of the

[00:15:35] [SPEAKER_04]: rhythm of their feet playing way in the distance and you hear it coming and coming closer and closer

[00:15:40] [SPEAKER_04]: and it gets deeper and deeper as they approach and you know sound is a wonderful tool for sort of

[00:15:47] [SPEAKER_04]: manipulating emotion too and creating sort of a sense of dread and imminent danger but then

[00:15:55] [SPEAKER_04]: when these two robots come together there's almost a little spiritual sort of moment where

[00:16:01] [SPEAKER_04]: the robot kneels in front of alfie she's got these sort of powers over technology and uh

[00:16:09] [SPEAKER_04]: and and when she touches the head of the robot as it's kneeling we kind of suck out all of the

[00:16:17] [SPEAKER_04]: sounds of the battle and introduce her her sound of which is the sound of her power and

[00:16:25] [SPEAKER_04]: but instead of using synthetic things like we use for the more rudimentary robots

[00:16:30] [SPEAKER_04]: for that sound of power we used a recording we did of an aboriginal digery do instrument which

[00:16:39] [SPEAKER_04]: it has has sort of almost a spiritual flavor to it and that's one of the things that I find so

[00:16:46] [SPEAKER_04]: interesting about not just alfie's character but the whole movie is that it really asks these

[00:16:53] [SPEAKER_04]: interesting questions about you know can AI be spiritual you know we see robot monks and

[00:17:00] [SPEAKER_04]: alfie is almost kind of a messiah in a way so you know for the most advanced AI

[00:17:08] [SPEAKER_04]: we shied away from using sort of synthetic electronic sounds we wanted to sort of make

[00:17:14] [SPEAKER_04]: make them have an organic feeling because in a sense alfie becomes more human than many of the

[00:17:24] [SPEAKER_04]: humans in the movie and there's just something that to me that's so interesting and evocative

[00:17:29] [SPEAKER_05]: about that wow that's amazing history is complicated the story of human progress is long

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[00:18:39] [SPEAKER_09]: i hope to see you soon one moment you know something like you've mentioned mood and evoking

[00:18:55] [SPEAKER_09]: feeling and i think when music is incorporated into film like it can either make or break a

[00:19:01] [SPEAKER_09]: scene depending on what you're trying to evoke from the audience um that being said uh the

[00:19:06] [SPEAKER_09]: radiohead needle drop i have to mention is like one of the coolest things in a movie especially

[00:19:13] [SPEAKER_09]: a key little note i love when mcbride as soon as he hits the dial that's when it starts so

[00:19:19] [SPEAKER_09]: starting with yin and everyone um we'll love to hear about what went on for like the discussion

[00:19:24] [SPEAKER_09]: that uh garith edwards had for like oh i would like to use this song and mix and get into the

[00:19:29] [SPEAKER_09]: film and then just um for a movie that's so loud with all these like explosions and guerrilla

[00:19:34] [SPEAKER_09]: fighting sequences probably a more quieter moment so i mean when we shot at some of those scenes

[00:19:41] [SPEAKER_07]: with mcbride we were playing in all kinds of stuff just to get him in the mood i mean a lot of

[00:19:47] [SPEAKER_07]: jimmy andricks went on there a lot of rhodestones which was you know great fun but but it was

[00:19:52] [SPEAKER_07]: just to get set the mood to get them into it but uh yeah later i obviously wasn't there so

[00:20:00] [SPEAKER_02]: yeah you know so in the post process that the radiohead song interestingly enough actually

[00:20:06] [SPEAKER_02]: went into the into the mix um kind of late for many months um we had a rolling stones

[00:20:14] [SPEAKER_02]: song in there which completely um i mean it it worked but in some ways it didn't feel as

[00:20:24] [SPEAKER_02]: as immersive uh and as unique as as the radiohead sound is and uh you know tom ozanich who was mixing

[00:20:34] [SPEAKER_02]: music and dialogue on the movie um just did an amazing job of apmo sizing that track and really

[00:20:43] [SPEAKER_02]: turning it into something that pulls you into that into the into the world and and into the vibe

[00:20:51] [SPEAKER_02]: of what garith was going for so when that went into the movie it completely changed the tone of

[00:20:59] [SPEAKER_02]: that of that scene and we shifted it from being a much more sort of aggressive you know rock and roll

[00:21:06] [SPEAKER_02]: with uh with this sound design pumping we shifted it from that into something that's much more internal

[00:21:14] [SPEAKER_02]: and poetic and and moody so yeah it really shifted it in an interesting way

[00:21:22] [SPEAKER_09]: that's that's that's interesting i could imagine it with another song at all like that just

[00:21:27] [SPEAKER_09]: perfectly fit the scene what you guys are trying to evoke speaking of sounds you know

[00:21:33] [SPEAKER_09]: i could just talk about the tanks and all these these equipment that probably everyone's

[00:21:38] [SPEAKER_09]: touched on you know it's it's i so i'm mainly curious first off what was it like finding a nice

[00:21:44] [SPEAKER_09]: balance between these intense war sequences where bombs are going off there's a variety of sounds

[00:21:50] [SPEAKER_09]: and all that being mixed especially capturing that on and set compared to the more quieter city

[00:21:56] [SPEAKER_09]: scapes you know when it's like the bridge uh town and it's at night time it's a bit quieter

[00:22:01] [SPEAKER_09]: or like cities like establishing a lived-in-ness in these different locations through the sound work

[00:22:09] [SPEAKER_04]: yeah i mean the the sound the i think garith's whole approach to this movie was letting sound

[00:22:17] [SPEAKER_04]: create the realities of these places whether whether you're in the middle of a battle or

[00:22:24] [SPEAKER_04]: whether you're in the cities and experiencing there might be sounds that you don't even see

[00:22:29] [SPEAKER_04]: on screen but sort of evoke create a sense of distance and and scale um that wouldn't have

[00:22:37] [SPEAKER_04]: been possible if we had had wall-to-wall music across this movie huntszimmer did did a gorgeous

[00:22:44] [SPEAKER_04]: score but it's used very sparingly and what that allows is sort of space in the soundtrack to

[00:22:52] [SPEAKER_04]: to really create a three-dimensional immersive reality whether we're in the cities whether we're

[00:23:00] [SPEAKER_04]: in the jungles or the rice paddies you know the giving us that real estate to be able to

[00:23:07] [SPEAKER_04]: establish that is kind of key to to creating that and garith loves doing big shifts also like pulling

[00:23:18] [SPEAKER_04]: the rug out sonically underneath the audience so so that's that's one kind of other sort of technique

[00:23:25] [SPEAKER_04]: we use throughout the whole film is if we cut to a wide shot suddenly will shift perspective or

[00:23:31] [SPEAKER_04]: you know we might be uh in the space shuttle when all the air is getting sucked out of it

[00:23:37] [SPEAKER_04]: and and the air is raging and then we cut to a wide shot on the exterior and we just go into

[00:23:43] [SPEAKER_04]: the vacuum of space and silence as little bodies float by and sort of garith just kind of gave us

[00:23:50] [SPEAKER_04]: the the the freedom and the space to kind of create all these moments in the film that for me were

[00:23:58] [SPEAKER_04]: really fun and very special and the very first sequence that he sent us was the the tank battle

[00:24:04] [SPEAKER_04]: which is in the floating village and it was a 15-minute sequence it was basically

[00:24:11] [SPEAKER_04]: Ian's production tracks from from set from on location and with all of those crowds and different

[00:24:18] [SPEAKER_04]: languages and zero temp music and Ethan and I did a pass on that whole sequence and we thought it

[00:24:25] [SPEAKER_04]: feels so real without music and we thought you know typically we have to pitch you know like okay

[00:24:35] [SPEAKER_04]: please don't put music over all of this let's go for something sort of visceral and real

[00:24:40] [SPEAKER_04]: like you know the opening of Saving Private Ryan there's 20 minutes of no music and we have to

[00:24:45] [SPEAKER_04]: really kind of like fight for those sort of moments and when we brought it up with Garith and he said

[00:24:51] [SPEAKER_04]: oh no no it that's intentional I never intended to put any music in this sequence it's all

[00:24:57] [SPEAKER_04]: going to be sound design and uh it's he makes it easy to do something fun and special and I

[00:25:07] [SPEAKER_04]: think his his whole credo when we've talked about this a lot is that there's the

[00:25:13] [SPEAKER_04]: tried and true thing the thing that's been done before that you know it's going to work

[00:25:17] [SPEAKER_04]: it's the safe choice and that's you know like every sequel is an example of that right and then

[00:25:25] [SPEAKER_04]: there's the dangerous thing which is the thing that is out of the box that has not been done

[00:25:31] [SPEAKER_04]: before if you have a choice between these two things always do the dangerous thing always take

[00:25:37] [SPEAKER_04]: the risk like always go for that and that's what I love about The Creator it is it takes so many

[00:25:44] [SPEAKER_04]: risks but it's because of that that it's unique and it's not a sequel it's a totally unique new

[00:25:50] [SPEAKER_04]: fresh kind of universe that that Garith has made that's amazing as we're starting to get

[00:25:58] [SPEAKER_09]: closer and I'm just sort of wind down with some questions I'm curious about first I think

[00:26:02] [SPEAKER_09]: besides your film 2023 as a whole there's so many great films with uh such great sound work

[00:26:09] [SPEAKER_09]: what are some films that you all saw last year that the sound work just

[00:26:13] [SPEAKER_09]: mass summarized you or blew you away I'll start with Ian and just real quickly

[00:26:18] [SPEAKER_07]: I have to say uh purely from the entertainment point of view I I was actually blown away by

[00:26:26] [SPEAKER_07]: Mission Impossible which the next one was my friend Chris Monroe and you know the whole franchise

[00:26:32] [SPEAKER_07]: that was absolutely incredible I mean the soundtrack is is pretty damn amazing

[00:26:38] [SPEAKER_07]: that was one of the highlights of sort of when I when we were nominated I watched all the films

[00:26:48] [SPEAKER_07]: and they're all great films they are all great films in their own right

[00:26:54] [SPEAKER_07]: zone of interest oh it is but it is very disturbing I find it particularly I found that film particularly

[00:27:05] [SPEAKER_07]: disturbing um but that's where we are where every film is unique in its own way and I think

[00:27:14] [SPEAKER_07]: whatever happens I think we're all spoke for choice with the certainly in the in our nomination

[00:27:21] [SPEAKER_07]: all that the whole five films are absolutely mind-blowing Ethan was there a film last year

[00:27:27] [SPEAKER_02]: that stood out to mine of just captured yeah well you know the first uh I want to agree

[00:27:33] [SPEAKER_02]: with with Ian on um on Mission Impossible because uh I hadn't seen it until the bake off

[00:27:39] [SPEAKER_02]: and I was I was blown away by the reel they put together you know that um the eight minute reel

[00:27:47] [SPEAKER_02]: they put together for the bake off um and then I went and watched the movie and was was really

[00:27:52] [SPEAKER_02]: enjoyed it um and then you know shout out to our re-recording um Mixers on the creator Tom

[00:27:59] [SPEAKER_02]: Mozanich and Gene Zupanzek who also are nominated for Maestro and I have to say

[00:28:05] [SPEAKER_02]: I I love that movie I mean you know it's mostly music but man is it ever like immersive and like

[00:28:16] [SPEAKER_02]: they did such an amazing job taking that music and really mixing it in a way that you're just

[00:28:25] [SPEAKER_02]: sucked into this world and and story in such a in such a beautiful um compelling immersive

[00:28:34] [SPEAKER_02]: way so yeah big big shout out to them yeah yeah sorry I forgot to mention them brilliant film

[00:28:42] [SPEAKER_07]: brilliant and Napoleon is another fantastic work fantastic work fantastic work yeah I still

[00:28:50] [SPEAKER_09]: think about um so many of the battle scenes Napoleon or even the um in Maestro that cathedral

[00:28:55] [SPEAKER_09]: sequence every time I seen it it's just unreal uh Ethan real uh Eric what about you real quick

[00:29:02] [SPEAKER_04]: what are your some of your yeah I 100% agree with um Ian and Ethan's picks and uh you know once

[00:29:11] [SPEAKER_04]: you know every year there's you know there's only five nominations for sound and so much good work

[00:29:18] [SPEAKER_04]: like often does not make it to those five in the past there there've been movies like District

[00:29:25] [SPEAKER_04]: nine which when I heard that movie I was like that should win best sound but it wasn't nominated

[00:29:33] [SPEAKER_04]: you know and um and this year um you know one of one of my favorite films that kind of uh

[00:29:42] [SPEAKER_04]: I thought might make a bigger splash in sound was uh Bo is Afraid oh um which which was so

[00:29:50] [SPEAKER_04]: out of the box and wacky and interesting and sonically just so expressive and uh you know so that

[00:30:00] [SPEAKER_04]: I give a shout out to that sound team um because I thought it was incredible that's that's fantastic

[00:30:08] [SPEAKER_09]: also I agree with you I wish more people acknowledged we could talk longer I would love to

[00:30:14] [SPEAKER_09]: pick your brains about you know just the different like maybe one day we get back to

[00:30:18] [SPEAKER_09]: where we have the sound mixing and sound editing categories you know I think everyone should acknowledge

[00:30:24] [SPEAKER_09]: but I'm just even glad that we're paying attention to such vital work thank you so much for being here

[00:30:29] [SPEAKER_09]: the creator um has just some of the best work of last year the nominations more than deserved

[00:30:34] [SPEAKER_09]: I hope you guys are enjoying this um thank you so much for your time thank you thank you

[00:30:41] [SPEAKER_07]: guys see you soon see you bye bye hey everyone thank you so much for listening

[00:30:45] [SPEAKER_06]: Geo vol you logos interview with the supervising sound editor and sound designers for the creator

[00:30:50] [SPEAKER_06]: Eric Adahl and even Ben Durine and the production sound mixer Ian Voight all of them are nominated

[00:30:57] [SPEAKER_06]: for the Oscar for best sound and are up for your consideration for this year's academy awards

[00:31:02] [SPEAKER_06]: you have been listening to the next best picture podcast we are proud to be part of

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[00:31:24] [SPEAKER_06]: thank you all so much for listening as always and we will see you all next time

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