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Posted by on Oct 30, 2007 | 0 comments

Exclusive Interview with Tim Prebble, Supervising Sound Editor of “30 Days Of Night

“30 Days of Night” descended into theaters October 19th. Helping to make vampires sound scary again is Sound Supervisor/Designer Tim Prebble. Prebble, a native Kiwi, supervised films ranging from the film adaptation of “The Bridge to Terabitha” to the livestock snuff film “Black Sheep”. Mixing took place at Peter Jackson’s Park Road Post, with two craftsmen from LOTR mixing team, Michael Hedges and Gethin Creagh. The pair, current mainstays at Park Road, have been mixing together for over a decade. For the New Zealand part of the shoot, David Madigan handled production sound. Madigan has been mixing both TV and features in NZ, (his native home) for twenty years. Brian Reitzell composed the Score for the film. In addition to being a drummer for the band Air, the music supervisor, editor, and composer has worked on all of the Coppola’s children’s feature films to date. Though brief, there is a little blurb about some of the “instruments” Rietzell used for the score HERE(4th article down).

<a href=””><img style=”margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px;” src=”” border=”0″ alt=”” /></a>
<span style=”font-style: italic;font-weight: bold”>“30 Days of Night”</span> descended into theaters October 19th. Helping to make vampires sound scary again is Sound Supervisor/Designer <span><span><a href=””>Tim Prebble</a></span></span>. Prebble, a native Kiwi, supervised films ranging from the film adaptation of <span style=”font-style: italic;font-weight: bold”>”The Bridge to Terabitha”</span> to the livestock snuff film <span style=”font-style: italic;font-weight: bold”>”Black Sheep”</span>. Mixing took place at Peter Jackson’s Park Road Post, with two craftsmen from LOTR mixing team, <span><span><a href=””>Michael Hedges</a></span></span> and <span><span><a href=””>Gethin Creagh</a></span></span>. The pair, current mainstays at Park Road, have been mixing together for over a decade. For the New Zealand part of the shoot, <span><span><a href=””>David Madigan</a></span></span> handled production sound. Madigan has been mixing both TV and features in NZ, (his native home) for twenty years. <a href=””>Brian Reitzell</a> composed the Score for the film. In addition to being a drummer for the band Air, the music supervisor, editor, and composer has worked on all of the Coppola’s children’s feature films to date. Though brief, there is a little blurb about some of the “instruments” Rietzell used for the score <a href=”″><span style=”font-weight: bold”>HERE</span>(4th article down). </a>
<span style=”font-weight: bold”> </span>

I wanted to thank sound supervisor Tim Prebble for taking time to do this Q and A. I was excited to cast the net across the Pacific for this. An native New Zealander, Tim writes his own sound related BLOG and wanted to provide this link of the “30 Days of Night” sound crew, HERE.

DS: Though any avid enough film-goer has probably knows how we break bones with celery stalks, how much goes into the sound of a kill?

TP: Our brief was primarily to keep it real, to not stylize movement or action but to reinforce true intent, although, to a degree, that approach was more about how the end result is perceived rather than how we set about achieving it. While the vampires have a specific motivation for their violence, i.e. to extract blood, we were also interested in supporting their back story and how they are sentient beings. David Slade also gave us the intriguing motivation that the vampires preferred the taste of blood with a large amount of adrenalin present and for that reason, the attacks tended to be fast and frenzied, but only as the final part of the victims’ orchestrated terror. Accordingly, there was a lot of collaboration between the sound design, physical sound effects, foley and the score to insure each moment worked as a composite whole well before we were on the mix stage. In terms of physical sounds, (apart from the obvious vegetables) some other elements that proved valuable were persimmon, rock melon & semi-dry seaweed as well as contact microphone recordings of a variety of shellfish being manipulated.

DS: As David Slade’s second feature, how was the budding director to work with and how did he approach post sound?

TP: David Slade was fantastic to worth with for one simple reason – he loves the role sound has to play in film. This was directly reflected in the script, the shoot & also in my start date – I literally began work on the project the day David and picture editor Art Jones completed their first assembly. From then on I began feeding them temp FX mixes on a scene by scene basis, prior to the main sound team starting and our two full temp mixes for audience previews. Another important factor in the overall approach was that David Slade is very interested in the area where score and sound design merge, often preferring the latter as less overtly manipulative. This is apparent in his first film, “Hard Candy”, but it is also territory that I love to inhabit, so collaborating with David Slade and composer Brian Reitzell was a joy.

David’s respect for sound also meant that David Madigan (production mixer) & Hugo Tichbourne (boom) were able to do a fantastic job of providing Ray Beentjes (supervising dialogue editor) and his dialogue team with great coverage including many valuable wild lines, as well as wild sound effects for us including key vehicles & snow moves.

DS: The population of Barrow, Alaska is trapped in their town for the duration of the sunless month. How was sound used to channel the claustrophobia?

TP: Constraints can often motivate creativity in unforeseen ways and due to the nature of the environment in “30 Days of Night” the humans spend a considerable amount of time in contained interior spaces. Accordingly, we were fully justified in exploring complex off screen ambiences and action without it ever feeling unmotivated. By establishing the potential for these early on in the film, we were then able to manipulate their presence to support the drama and the creeping feeling of claustrophobia throughout the film. My favorite scene for sound in “30 Days of Night” is also one of the quietest and in my opinion provides the best example of both claustrophobia and implied horror in the film. In this case the mixers Michael Hedges (sound effects, ambiences, vampire vocals & foley) and Gethin Creagh (dialogue, ADR & score) used a reductive process of slowly removing all real or normal elements until we are left in near-silence for the reaction and gradual reintroduction of reality. By the time the inverted climax is reached, all natural ambiences have been replaced by very subtle tones and our perceptions are entirely focused on the emotional impact of the action rather than the action itself. Similarly, at many times in the film we are witness to characters hiding from the vampires and these moments allowed us to mix the scene from a highly accentuated point of view.

DS: How did you adhere to conventions that audiences have about cold winter sounds, like wispy winds, while keeping yourself satisfied with the level of detail and movement in the backgrounds?

TP: One thing about the city I live in (Wellington) is that it is one of the windiest cities on the planet and so whenever we saw that a southerly storm was predicted, we would all be out recording, exterior & interior winds in as many different environments as we could. One very memorable recording session was inside a wind turbine and material from that session was used in many different contexts in the film. Our FX Assistant David Vranken is also normally based in Europe, so prior to him starting work we sent him north to record ambiences and a library of snow foley. Consequently, Matt Lambourn (Ambience & FX Editor) was armed with a huge library of new material and did a very careful and considered job of creating an orchestra of winds. In my opinion his best work was in the extremes, the quiet drafts and air pressure shifts of hiding in a small attic space, contrasting dramatically with fighting a total white out blizzard to find a new safe haven.

The ambience predubs went wide but were always driven as much by the emotional arc of the scene as by the literal action. I personally love working on ambiences and consider them a very important element in any film soundtrack but in this case it was definitely an advantage for me to contribute primarily through maintaining my objectivity and providing input during our many ambience run-throughs. We also knew from day one that the film wouldn’t have an over the top or relentless score and this aspect was crucial to the ambiences being able to be used creatively.

DS: The vampires in the film seem to be a welcomed departure from the suave, seductive Anne Rice creations; ferocious creatures bent in the pursuit for blood. How was their viciousness vocalized?

TP: In my first meetings with David Slade prior to the shoot I was very happy to learn that a linguist based at Auckland University had been hired
to develop a language for the vampires. Apart from the eventual vampire dialect, an ‘incursive’ vocal technique of vocalizing on the in-breath was also employed. The director did an ongoing series of vocal workshops in preproduction to refine these techniques, which we also applied when it came time to do ADR & create new elements.

During post, the vampire vocals were a combined effort by both myself and ADR/dialogue editor Chris Todd. In my experience I have always found that I far more believe creature vocals that are performance based, as opposed to being created as an after thought, and we spread our net wide to find local character vocal performers who could match the existing characteristics of the vampires but also provide potential new directions and options. One inspired avenue involved vocalists from some local death metal bands, with one singer in particular who could naturally ‘sing’ tritones! The film also has some transformative moments & for these we also used a few very specific animal elements, primarily small marsupials native to New Zealand which matched the existing tonality.

In terms of breath work, in the film we visually see cold breaths from the humans but never for the vampires and combined with emphasis on the vocal power of the in-breath we were able to approach this performance aspect from a unique angle. In ADR we also recorded many vocal sounds as elements for the vampires feeding that utilized a lot of yoghurt to great (and messy) effect.

DS: What was your first gig like?

TP: After attending film school and spending four years cutting sound effects and ambiences for TV drama series, I was lucky enough to land my first feature film via a schedule bottleneck: basically the film “Saving Grace” by New Zealand director Costa Botes came along when everyone else was busy! I was so hungry for it and still vividly remember the start of the final mix; the combination of trepidation & exhilaration at hearing a lot of hard work come to life on a much larger scale than I was used to. My second gig was even more exciting as I managed to land a stint on Peter Jackson’s film ‘The Frighteners” filling in for my dear friend & mentor Mike Hopkins, until his schedule freed up. I spent six weeks working up versions of the films ‘tunnel of light’, with the last few weeks spent in the edit room next door to Randy Thom – someone who is an endless inspiration to me. I feel blessed that sixteen years after attending film school I love what I do with an ever growing passion. I absolutely relish the challenge each new project brings, but also remain a permanent student as to how sound affects us physically and emotionally in the real world & finding new means of expressing that.

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Posted by on Oct 23, 2007 | 0 comments

Exclusive Interview with Paul Soucek, Supervising Sound Editor on “Michael Clayton”

“Michael Clayton” arrived in theaters October 12th. Paul Soucek supervised the sound editorial for the film. Re-recording mixers Michael Barry and Andrew Kris mixed at New York’s Sound One studio D. Kris, who also dabbles in TV mixing, worked on this latest season of HBO’s “The Wire”. Barry who has collaborated with Soucek on previous projects throughout the years, mixed the last two films by the late Robert Altman. Michael Barosky handled production mixing on “Clayton” and has currently been shooting sound for director Kenneth Lonergan whose 2000 film “You Can Count on Me” is a personal favorite. The ever-busy James Newton Howard scored the film on the Fox lot in LA. In the next few months alone, JNH will see his work come to fruition with the release of “The Great Debaters”“The Water Horse”“Charlie Wilson’s War”, and “I Am Legend.”

Thanks to supervising sound editor Paul Soucek for taking the time to do this Q and A. A little shy of six months have gone by since I started this thing, thanks to everyone you have participated, now onto the fun!

DS: Inaugural decisions in film are made during screenwriting, even ones about sound. Do writer-directors differ at all in their approach to sound?

Aha, but the inaugural decisions made during screen writing don’t necessarily hold water over the course of making the film. It depends on the “power” of the director, but the studios weigh in based on previews, yadda, yadda and EVERYBODY has an opinion about what’s “best.” I’ve seen films get turned completely upside-down owing to lousy preview numbers and there’s this crazy notion that remixing a bad film is going to make it a better film. No names mentioned. Every writer-director I’ve worked with has had a different approach as their all different people. Tony Gilroy was fabulous as he had written an ironclad script that was clear in the direction it wanted to go and he and John Gilroy saw that through. I’m terrible at reading scripts because I’m making the movie in my head, and what I end up seeing usually has nothing to do with this. Tony is so clear and precise about how he wanted to go that it was wonderful, and he’s also a great communicator. I’ve worked with other writer-directors who are just cashing a paycheck and could care less about what we sound geeks do. I think that by the time you get to the audio post process the environment has changed so much from when the script was being written that it becomes The Director. Every creative has different levels of control and interest in the sound process. I worked with a director who just read the paper during the mix all day and could’ve cared less what we did or were doing. Every film and every director is different when you get to the caboose of audio post. I don’t know if it matters if they wrote the film or not. Once, after all, they’ve directed it, it’s their baby and they will do as they please.

FSD: In a dialog heavy scene that is already tense just through the acting, cogitative judgment must be used to craft the sound that underscores but does not overwhelm what is already dramatic. What determines how sound impacts tense conversation?

PPS: I’ve come to the notion that we sound folk tend to load up scenes that are already working with detritus, and I’ve tried to shy away from that. The scene between Tom Wilkinson and George Clooney when he’s in the holding cell is a good example. We had very minimal backgrounds and I think the key to “punching” things was the way (re-recording mixer) Michael Barry chose to focus on the dialogue treatment. Here they are in this big “jail” environment and I wanted it to feel very claustrophobic, and that’s how we approached it. The reverb settings were certainly tighter than reality and I love how TIGHT the scene sounds. Throughout the film, the backgrounds, which Mike Poppleton did an amazing job on, were kept very low. I think that “tense conversation” is all done through the dialog mix, and when you start loading the track up with other bullshit it’s pointless and distracts from what’s going on.

Again: it’s a case-by-case situation; If a scene is working and you load it up with stuff, you’re wasting your time and taking away from what I call “the proscenium,” that being the screen. It’s the characters and drama that are important, and when you distract from that you are doing a disservice to the film. I think elegant, light touches are the way to go (you don’t hear the wind or the rumble in the jail scene, but you sense them). And blessed be that Tony did not score these pivotal scenes. They fly on their own. I learned a tremendous amount from Tony and John about this. John would always say, “Let’s not remake the wheel here,” and he was always spot-on. The worst is when you have a dialogue-heavy scene that sucks, then they want you to bring in helicopters, sirens, car alarms, whatever to try to save it, and – as the great Lee Dichter has said – they don’t walk out of the theater whistling the footsteps.

In summary, why gild a lily?

FSD: Tilda Swinton’s character-defining scenes happen when she is confronted by the stress of her job. How was her anxiety conveyed in the soundtrack?

PPS: Tilda’s character Karen is a cold, evil and ostensibly pathetic and lonely person. Again, I have this notion of “aural focus-pulling” and we were all in cahoots on this. Every room she’s seen alone in SOUNDS miserable (dripping, wheezing, whatever, excepting the irony of the background kids playing that were in the production track, and that was a great sonic slap in the face to her). I think her performance conveyed everything you needed in terms of her anxiety. What we COULD do was create a claustrophobic environment around her, and that’s what we tried to do.

FSD: I loved the credit crawl at the end because of the unorthodox silence. Much like Clooney’s aimlessly driving cabbie whose daily wish is most likely for all other traffic to get the hell out of the way, all other sounds seemed to take a cue and scram. How was this “silent” scene approached aurally?

PPS: Naturally we were loaded for bear with this: the typical NYC traffic sounds, specifics, etcetera. But the reality here is – again – “aural focus-pulling.” We’re in Michael Clayton’s head, and when you’re in a cab and something is on your mind, you don’t hear the world. I like to think about the notion of what a character might be thinking, and chances are Michael was not thinking about bus bys and sirens. James Newton-Howard‘s cue there is also very prominent, so why pollute this with a bunch of other sonic rubble? Michael remains lonely, and who knows what the hell he’s going to do? But he has had that last victory with Karen in telling her off at the Hilton, and he’s at least somewhat liberated. We kind of made it a mental vacuum by stripping things away. Again, Tony and John were instrumental with this kind of approach. I think some people in sound have a tendency to stray from the fiber of what’s going on dramatically. We are all paranoid and afraid there won’t be enough ammunition on the dubbing stage, but Tony and John Gilroy were so clear about the direction they wanted to pursue that this was a non-issue on Michael Clayton.

And I don’t necessarily agree that the silence is unorthodox. In fact, I think it should become modus operendi. We’re in Michael’s head, so why should we be distracted by stuff? I agree it’s a rather abrupt dive into silence, but you can get away with that with sound in a very magical way.

FSD: I always battle with the level of radio or phone futzing used in scenes. There is a bit of surveillance equipment broadcasting dialog out of a speaker in the film. Is there any set way to approach this kid of futzing? Does it depend on the necessity or word comprehension or just aural aesthetics?

PPS: Again, I think it depends on the DRAMA that’s going on. I don’t think one needs to be so literal with futzing stuff. The audience SEES you’re talking on a phone; you don’t need to squeeze the shit out of the other end of the line. John and Aaron Marshall – the picture assistant – did most of this work in the AVID, and it followed the drama. I loathe it when people just put in some futz setting and stay there. It’s robotic. One inspiration for me is a scene in The Rain People where Shirley Knight is talking to her husband (who she’s left) from a pay-phone by the side of a highway. I may stand corrected, but I recall the husband’s voice become less filtered as the scene continues. Then again, Walter and Barry are geniuses. I think The Conversation is the epitome of how and why to futz things. When YOU’RE having a phone conversation does it sound “futzed”? Futzing actually clarifies the dialog by making it brittle, like the 411 operator. Again I’ll retreat to my notion of it being all about the drama and the focus of the scene. I don’t think you can take a technical approach to any of this or you’re doing a disservice to the film. Much as Dede Allen broke all the “editorial rules” with Bonnie and Clyde, I think we have to continue to break rules and break new ground. When you’re on a great project, it’s really exciting. Of course the audience doesn’t notice it, but that’s what’s so cool about – as one of my mentors Richard Portman used to say – “working in the invisible.” I can understand how with a war movie or something chopping back and forth between helicopter shots you’d want to preset your futzes, but with a film like Michael Clayton it was very flexible. As I wrote, John and Aaron mapped it out.

FSD: What was your first gig like?

PPS: My first gig was fabulous. It was worked on as Blue Jean Cop and released as Shakedown. It was also terrifying because “film-school” doesn’t give you a clue about the actual workings of the film business. For example, I didn’t know what the hell was going on (I was clueless) and when everybody shouted “THEY LOCKED PICTURE!” I thought it was the most important thing in the world. At that time we were on mag and we struck track dupes in-house, and that was one of my jobs. I didn’t know anything about overtime or the union and so I just stayed for five days straight striking dupes. And the effects editor, Jack Haigis, was a wonderful teacher. It was a big action show, and the FX tracks were WIDE! I built all of them, and never made a single mistake! I think my most exciting moment was when we got a call from the mix because there was a plane landing and the director (a delightful fellow, Jim Glickenhaus) wanted to have tire chirps. Nobody was around and I was in a panic, scrambling through the library book trying to find tire chirps. I was literally breaking out in a sweat as I – by that point – knew how important and expensive the mix was. I couldn’t find anything, so I thought about varispeeding some poodle barks and I – for the first time in my life – got onto the upright Moviola and cut them in, built them into sushi rolls and scrambled to the stage. They worked perfectly, but re-recording mixer extraordinaire Tommy Fleischman turned to me and said, “Those are dog barks.” I said nothing. It was an insane but great crew, and it was baptism by fire. I knew audio gear and all that stuff but had NO CLUE about how a sound department was run. The crew played a cruel joke on me at one point when we had some picture changes and I was told that the supervisor didn’t approve of the color of the conformation labels, and I was to change them all.

There were HUNDREDS of units, and I was still building more units.

I also suppose I got spoiled in that we had a really straight-shooting producer (the late Boyce Harmon, a wildman but also a gentleman) who treated us well, made sure we were well fed, and didn’t hem and haw about overtime if we needed to work it. Suffice it to say, it’s been downhill from there.

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Posted by on Oct 22, 2007 | 0 comments

CAS – Career Achievement Award

The Cinema Audio Society announced this year’s recipient of their “Career Achievement Award”.


Los Angeles –Music Scoring and Sound Re-recording Mixer, Dennis Sands, CAS will receive the Cinema Audio Society’s highest accolade, the CAS Career Achievement Award, to be presented at the 44th CAS Awards on February 16th, 2008 at the Crystal Ballroom of the Millennium-Biltmore Hotel, Los Angeles.

Sands won the CAS Award for Outstanding Sound Mixing for FORREST GUMP and was also nominated for CAS Awards for CAST AWAY and CONTACT. He is a four time Academy Award Nominee for THE POLAR EXPRESS, CAST AWAY, CONTACT and FORREST GUMP.
His Sound Mixing for “Steve & Eydie Celebrate Irving Berlin” won him an Emmy Award. Additionally, he has won two Golden Reel Awards for
AMERICAN BEAUTY and SOUTH PARK; Bigger, Longer & Uncut.

His extensive career as a Music Scoring Mixer and a Sound Re-recording Mixer encompasses nearly 200 films, hundreds of episodic television shows and numerous albums for jazz greats Ella Fitzgerald, Count Basie, Sarah Vaughn, Joe Pass and Oscar Peterson.

Mr. Sands will be the 26th CAS Career Achievement Award Honoree.
Past honorees include Ray Dolby, Robert Altman, Jack Solomon, John Bonner, Bill Varney, Don Rogers, Walter Murch, Jim Webb, Richard Portman, Tomlinson Holman, Mike Minkler and Ed Greene.

The 44th CAS Awards will also honor Outstanding Achievements in Sound Mixing in five categories; Motion Pictures; Television Movies and Mini- Series; Television Series; Television-Non-Fiction, Variety or Music Series or Specials and DVD Original Programming.

The Cinema Audio Society, a philanthropic, non-profit organization, was formed in 1964 for the purpose of sharing information with Sound Professionals in the Motion Picture and Television Industry.

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Posted by on Oct 6, 2007 | 0 comments

“The Assassination of Jesse James by the Coward Robert Ford” (Pt.2) – Exclusive Interview with Sound Supervisor Richard King

I want to thank sound supervisor Richard King for taking the time to do this Q and A. “The Assassination of Jesse James by the Coward Robert Ford” is a film you need to experience on big screen. Hopefully Warner Bros. will decide to open wider, for it would be a shame not to see it in a darkened theater.

DS: The trailer depicts a very unique and specific visual style. I have read that the director may have literally blurred the edges of some shots to portray how history has blurred the Jesse James myth. Since a lot of sound effects work is heightening real sounds, how were those lines between the real and surreal blurred in the soundtrack?

RK: The track attempts to follow the emotional arc of the characters moment to moment. Each sound, both prosaic and abstract, was carefully chosen to encourage the audience’s participation in their situation. So there is the non-pictoral, emotional thing going on at the same time that we wanted to create a strong sense of place, (Kansas/Missouri area in 1881). Often these two ‘styles’ collided, and we would have to strike a balance. Ron Bartlett and Doug Hemphill did a wonderful job creating a very story-driven mix.

DS: Obviously the film must reach its climax when “The Coward Robert Ford” assassinates James. How was the sound leading up to the epochal gunshot (as well as the gun shot itself) handled in such a pivotal scene?

RK: Well, there’s a sort of Kabuki Theater feeling to the scene, a sense that all the participants knew what was going to happen and just allowed the inevitable to play out. The sounds were chosen with surgical precision, and decided upon after much experimentation. Jesse James’ little girl is sitting in the yard reciting a poem to herself and provides the main counterpoint to the violence which the audience knows is about to happen. There are a couple of distant mournful train whistles, some sad flat wind blowing the grass outside, but the sounds which ended up being the most important were small sounds in the production track such as Bob Ford’s nervous breathing, shoe scuffs & floor creaks.

DS: We’ve seen with this month’s “3:10 to Yuma,” how much effort is put into the sound details to sell period pieces. What details are you most proud of in this film?

RK: I’m very proud of the entire track; I think it works as a whole. I couldn’t really pick out a period detail I’m most proud of. Hopefully the audience is drawn in and just accepts they’re in 1881 without thinking about all the details. I’m happy that we had the time and resources to leave no stone unturned in recording and creating sounds.

DS: I recently touched on the importance of a dedicated sound effects recordist and I have read your “huckleberry” is John Fasal. Assuming that you guys got to record extensively in the field for Jesse, what were some of you favorite sound excursions?

RK: John Fasal, Eric Potter (who’s my other “secret weapon”), Hamilton Sterling and I flew to Tacoma, Washington to record a large steam train. It was a later vintage train then would be absolutely appropriate, but steam trains from the 1880’s were small and tend to have a cute ‘chug-chug’ sound. I wanted a monster; threatening and powerful. We had full use and control of the train for several days. We also recorded a large number of period weapons. The ammunition was all custom loaded black powder live rounds (black powder has a different sound and fires the bullet slower then smokeless powder). Something which we relied on heavily was the outdoor loop group we recorded at Topanga State Park(seen in video below). We shot with four mics – two stereo pairs for a close and a distant perspective. We got the usual chat, plus a variety of whistles, yells and distant singing which is used almost as score in the film in a couple of spots.


DS: I saw a trailer for this film over a year ago. Though I am sure you were not literally on the show from production wrap in 2005 until now, it must reap some benefit to be able to take time with a project like this…Is an extremely long schedule a gift or a curse?

RK: I worked on the film off and on for a year and a half (mostly on). Being involved for so long allows you to get fully immersed in a project, which I very much enjoy. On the flip side, working with an intensely obsessive director like Andrew Dominik can be extremely trying at times. Having said that, I really admire how he threw himself into the minutiae of building the track. He is the true sound designer on the film.

DS: What was your first gig like?

RK: Well my absolutely first gig in the film biz was on the set of a super-low budget horror film. It was my job to lie under the bed of the ‘victim’, (actually a dummy), an
d manually pump blood out of the body as the insane killer chopped it up with an ax. Someone made the unfortunate decision to use real cow blood, and I still remember the smell. It was around that time I decided I’d give post-production a try. My first supervising job was with Cannon Films on “Alan Quatermain and the Lost City of Gold”; kind of a low-budget ‘Raiders’. I did a huge amount of sound effects recording (I had to, as I hadn’t accumulated a sound library yet). It was a blast! I supervised three films the first year I worked there.

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