Peter Canaricas has published a nice article on Variety featuring “The Hurt Locker” and “Avatar” sound, two films nominated to Academy Award for Best Sound Editing, but also two different worlds and different perspectives and ways to treat the sound. Check some excerpts:
“We absolutely invented sounds,” says Boyes, whose team created aural experiences that don’t exist on Earth, such as vocalizations for Pandoran creatures like the thanator land predator and the great flying leonopteryx.
Pandora’s rich, bioluminescent rain forest was another creative opportunity. Relying partly on recordings made in South American jungles, Boyes’ team strove to form sounds that were “beautiful, evocative and intoxicating,” he says.
Unlike Boyes, who invented new sounds, Ottosson’s mission was to re-create the gritty acoustics of the Iraq war as authentically as possible. “We didn’t want to have anything that sounds like it wasn’t real, like it didn’t come from there,” he says.
Ottosson relied on recordings made in Jordan by sound mixer Ray Beckett, who caught the aural ambience of cities, the desert, roaming goats — “whatever he could get his hands on to capture the texture of everything and give me as much to work with as possible.”