The July Special of Gary Rydstrom ends here… with more interviews!
Road Trip Nation had an interview with Rydstrom talking about his life and sound design work.
“Since he was twelve, Gary Rydstrom knew he wanted to work in film, but he was uncertain what he would specialize in. At USC film school, he found his passion with sound. Although the film industry is competitive and difficult to break into, Gary has had encouragement from his friends and family. After graduation, however, Gary had his own doubts. With a bachelors degree in film under his belt, and now perusing a masters in film, Gary got a stroke of luck. “It was just one of those out of the blue things. I was sitting in school and [the teacher] said, ‘do you want to interview for a job up at Lucasfilm?’” Gary took the interview, got the job, and moved to San Francisco to work at Skywalker Ranch. This all took place in three days. Gary has done work on dozens of films including Terminator 2, Backdraft, X Men, and Finding Nemo. Winner of seven academy awards, Gary is happy to find his niche.”
Here is an interesting interview with Gary Rydstrom conducted in 2007 by Kboo Radio in his Words and Pictures Program. It’s About 28:16 minutes.
“Academy Award-winning sound designer Gary Rydstrom recently jumped into the director’s chair to create the animated short “Lifted” for Pixar. Gary hosted a screening at this summer’s Platform Animation Festival in Portland, and has plenty of stories about finding soundtrack material in the strangest of places.”
Gary Rydstrom wasn’t the main sound designer of Titanic, he worked as a re-recording mixer, making a wonderful work with the Sound Crew, and won an Academy Award for Best Sound.
I couldn’t let go this article that I find about the ound design of Titanic. Let’s read!
“What the extra time gave us,” says supervising sound editor Tom Bellfort, “was the ability to come to terms with all the material and try to articulate all the possible sounds that would create the sheer size and elegance of the ship before it hits the iceberg. It also gave us the time to approach the job [in the post-iceberg section] in less of a mechanical way. It’s easy to do a mechanical job as compared to more of an emotional and psychological rendering of what’s going on aboard the ship while it’s sinking.”
The Hauting, a horror movie directed by Jan de Bont. The Sound Design by Gary Rydstrom, wich had a interesting interviewatfilmsound.org talking about the sound of The Haunting. Let’s see:
On a recording soundstage here at George Lucas’ Skywalker Ranch, the movie’s sound designer, Gary Rydstrom, had just received an urgent call from a colleague. An image of the movie’s fragile heroine, played by Lili Taylor, was frozen on a movie screen and on two video monitors. Rydstrom and his two assistants looked almost as tense as the actress, who was cowering in bed, her eyes fixed on something on the ornately carved ceiling.
“That’s where the visual effect goes,’ said Rydstrom, advancing the film a few frames. “They’ve just added something new to it, so we have to come up with an additional sound effect.” Though the art of sound is often viewed as the last and hastiest element of movie production, Rydstrom has had two months to prepare, an unusually long time. For a suspense film about largely unseen forces, evocative sound is essential to the movie’s success.
Minority Report, one of the most recognized sci-fi and futuristic films, another master piece directed by Steven Spielberg, with the sound work of Gary Rydstrom. A huge range of sounds, for a huge number of gadgets and devices that do not yet exist.
The story revolves around the idea of police who are able to capture criminals before they commit their crimes. “They have this technology that’s able to plug into the brains of these genetic mutants that can see the future and put on a screen the images and sounds that they see,” says Rydstrom. “Tom Cruise’s character, who works for the government, is trying to find clues to a murder. Spielberg is clever enough to put a horse or a sprinkler in the scene so that it can show up as they scroll through these visions. It’s real montage-like. But it’s also playing with time, going backward, playing in different perspectives.”