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Posted by on Apr 25, 2008 | 0 comments

“Forgetting Sarah Marshall” – Exclusive Interview with Music Editor/Supervisor Jonathan Karp

“Forgetting Sarah Marshall” jogged audience’s memory of what an R rated sex comedy is like April 18th. Adding to the his already Apatow laden mantle, George H. Anderson supervised sound editorial. Anderson ends his summer in a puff of smoke with August’s “Pineapple Express”. Mixing took place at Todd-AO’s Santa Monica facility with Adam Jenkins and Orest Sushko. The team adds to the coming of age through the art of dance genre with August’s, “Make it Happen”. Production sound on “Marshall” was handled by Richard Van Dyke whose next film is Ridley Scott’s October releasing drama, “Body of Lies”. Songwriter Lyle Workmen lent his talents to “Marshall”. Another Apatow alum, Workmen composed for “The 40-year Old Virgin”and “Superbad”.

Ah the elusive music dept. I finally nabbed some time from one of these fine individuals to shed some light some post sound I know the less about. Thanks so much to music editor and supervisor Jonathan Karp for taking time out of his schedule for this Q and A!

DS: First off, out of sheer ignorance, explain the role of a music editor?

JK: A music editor performs various tasks which include cutting temp music, taking and updating spotting notes (lists of all the cues and timings of the cues as they appear in the picture), preparing cue timing notes for the composer, performing click and other duties at scoring sessions, all while continually conforming the music through numerous picture changes. The music editor is the individual responsible for preparing and delivering the music throughout the mixing process.

DS: How did music editing in your career evolve with taking on the supervision role too? Does it change your dynamic with composers?

JK: It evolved naturally. I’ve been fortunate to have been involved creatively as well as technically in the majority of projects that I’ve worked on. Through increased involvement in the business and creative areas of the music, I’m able to have a clear idea of exactly what needs to be done to achieve a goal. It probably does change the dynamic with composers, but each film is so different with different collaborators, that it’s never the same each time out anyway.

DS: What thematic role did the filmmakers on “Forgetting Sarah Marshall” want out the music dept?

JK: At the beginning of the music process, the main focus was the production of the various songs that Russell Brand and Jason Segel sing in the movie, hiring a Luau band and preparing those recordings, and last but not least, production of ‘A Taste For Love,’ the Dracula musical that appears in the film. The tone of the movie was clear from Jason Segel’s script and table reads, so there was never much discussion about that aspect of our approach.

DS: You’ve worked with Apatow for a while now. How has your working dynamic with him changed since “Freaks and Geeks”?

JK: Well, having collaborated on a good number of films at this point, we sort of have a shorthand together in our working methods. We also tend to be on the same page in our view of what the music should be like for each particular picture.

DS: With music featured so prominently in his films as well, what is it like to work with PT Anderson?

JK: Paul knows what he wants and when he has found it. Being a part of the teams that helped him put together the music for “Magnolia” and “Punch Drunk Love” was full of amazing experiences.

DS: You started out in sound effects editorial, what prompted you to transition to the music dept?

JK: Music has always been my strongest interest and I quickly moved towards that aspect of post production after a short learning process as a sound effects editor. Sound effects editing proved to be a good way to get a handle on the technicalities of preparing sound for a feature film, and getting my start in the business.

DS: What was your first gig like?

JK: My first film experience was as a sound effects editor on the Ice Cube movie, “Friday”. It was a great learning experience and lots of fun, as the whole principal cast was around frequently. My main role was to cut all the background sound in the movie. For a laugh, go back and listen for the crow that follows Tiny Lister’s character, Debo around. In addition, I was able to witness and participate in a great number of the aspects of preparing a theatrical sound mix, which was invaluable.

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Posted by on Apr 3, 2008 | 0 comments

Exclusive Interview with Gary Bourgeois, Re-recording Mixer on “21”

“21” went all in-to theaters on march 29th. Wagering that the audience will hear the sound effects under all that music(I kid, I kid) was sound supervisor Michael D. Wilhoit. A 28-year sound veteran, Wilhoit cut on one of my favorite guilty pleasure tv show’s, the helicopter extravaganza known only as “Airwolf”. Mixing took place at Sony studios with Gary C. Bourgeois and Greg Orloff working the tables, er mixing console. Bourgeois recently mixed the next David Mamet movie(which I am excited to see), “Redbelt”. While Orloff ears might be burning after he finishes work on the Coen bros next, “Burn After Reading”. Trying to keep those loud casino floors from affecting the location dialog’s noise floor was Production mixer Nelson Stoll. Stoll mixed on one of my favorite passed over gems, Ben Stiller’s “The Cable Guy”. Scoring “21″ was bestowed upon David Sardy. An established rock producer, Sardy tracked his contributions to the film at his personal studio in LA.


DS: Las Vegas is such a great local for sound; gambling’s aural presence is so recognizable. Where there any Vegas style sound cliché’s you guys got to play with on this film?

GB: Obviously in the backgrounds there are excellent recordings of the usual machines you find in any casino, so that the ambience is recognizable to everyone. Those sounds we tried to keep to a minimum so as to let the stylized sounds come to the fore. The soundtrack to this film is extremely stylized and one would get tired of the clichéd sounds quickly. Greg Orloff took the recordings made by Scott Wolf and interweaved them with the music beautifully. The locations cross between MIT and Vegas so the contrasts are very striking. The backgrounds convey the coldness of the MIT campus and the casinos, in a very stark manner.

Our Picture Editor, Elliot Graham, did a great amount of directing the mix and he liked a very bold track. We played the FX and MUS strongly in many instances and although most people might think of this as a “talking” picture, I can assure you the track is extremely dynamic.

DS: Temp mixes are more and more frequent in post and with any luck the final mixers are involved from the first one. During 21’s schedule how many temps were there and how important were they in defining what happened in the final.

GB: Firstly, I would like to take issue with the beginning statement that temps are more frequent. Temp mixes were, for all the years I know, done on every film and in the last few years we’ve seen a serious drop off in the number of temps on all projects large and small. Few temps are done by the final mixers let alone any mixers at all. Technology has made it possible for Avid owners and Protools owners to do the temps and I have written a paper on this issue which I shall attach.

As for “21” there were three temps done all by the “final” mixers. The film is so stylized that it was extremely important for us to work out a lot of direction during those times, so that the predubbing would be efficient and also so that the style was tested with an audience. Music was also tested as the music track is very fresh and time sensitive.

DS: With so many productions shooting wide and tight limiting the ability for the boom, how much work is needed to match acoustic characteristic?

GB: Right up front I would like to say that my praise goes out to all production mixers who work so hard under impossible situations to get anything that is half decent at all. My definition of good production sound is “no matter what I have to do to get there, if it turns out good in the end, then the production mixer did a good job”.

As for matching, the issue is less tight or wide than simply working really hard to match every actor, angle or situation change that is always occurring! I’ve been mixing dialogue for more years than I care to mention, but I can assure you that there isn’t a line of dialogue that has ever NOT been addressed in many ways. Noise suppression, de-essing, eq (sometimes a lot), light compression (if necessary) and many other tricks are applied at all times in various degrees. I hear a lot of inexperienced dialogue mixers say that some lines sound terrible because they were recorded that way. When I hear that, it makes me feel like they’re not trying hard enough or don’t know their full range of tools. It takes many years to develop the skills necessary to be a really good mixer and one is (hopefully) learning all the time. A good mixing team uses many years of experience, to be able to manipulate the material given, in a way that helps the director communicate his/her intent to the audience. Strong, clean, well matched dialogue allows the music and fx to find their “pocket” more easily.

DS: I am a huge advocate for communication between us sound folk (and there ain’t enough of it). What is the most important topic you would want to talk about to make post sound better?

GB: All the various problems thrown at us dialogue mixers have solutions that range from light manipulation all the way to ADR. We try very hard to save the production sound and are constantly encouraged by the directors to “make the production work”. The one truly difficult situation for us is if an actor goes “off mic”. There is not really any tool to fix this situation and so I would say that the one thing I would recommend to my fellow sound people is to try hard to keep things “on mic”. BTW if anyone knows a solution to this dilemma please let me know.

DS: Why isn’t music predubbed generally? How does the introduction of music at final mix change the way the dub goes? Whats the best way to avoid surprises?

GB: I’ll tackle the last part first. I like surprises – it creates challenges and if we didn’t like surprises then I could be working for the gov’t! As for predubbing the music, most of the time the tracks come in a form of a predub from the scoring stage or music studio. Stems are usually delivered in some combination of rhythm, strings, synth, guitars, full 5.1 orch etc. As long as the stems are broken out we can control the internal balances along with the overall mix, in a way that permits us to weave around dial. or feature
certain instruments according to the directors’ vision.

My biggest concern now is that a lot of music is being delivered in 2 track format (L/R stereo), and therefore does not take advantage of the 5.1 format. I plan on writing a paper on this subject in the near future to further explain the advantages of 5.1 music stems.

DS: What was your first gig like?

GB: I started in the sound dept at Crawley Films /Ottawa/Canada, an industrial/documentary film company that also dabbled in the odd feature film. I was sent out as a prod. mixer and then trained by the in-house mixer Bob Leclair. My background is in music and my first feature film was mixing music on “Janis” (the story of Janis Joplin). My second effort was to record all the FX and mix “The Man Who Skied Down Everest”, which won an Academy Award for best feature documentary. I then spent a few years mixing music for Bob Dylan and others. I feel that I received great training from almost everyone I’ve had contact with over the years and I still have a great passion for my craft. I look forward to coming to work every day.


Gary authored a great editorial on the importance of temp dubs, available HERE!

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