Tonebenders Podcast 351 - One Battle After Another
Feb 26, 2026
Tony Villaflor, re-recording mixer who shaped the film’s Atmos mix. José Antonio García, production sound mixer who captured on-set sound and tricky car recordings. Christopher Scarabosio, supervising sound editor and designer with many industry nods. They discuss widening the screen with Atmos, wiring and planting for a riot, crafting an unconventional car chase, balancing chaotic score and dealing with noisy VistaVision cameras.
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Widening The Screen With Atmos
- Paul Thomas Anderson saw Atmos as a way to "widen the screen" and make the film feel more cinematic and engulfing.
- Christopher Scarabosio tested the first 15 minutes in Atmos to prove the expanded soundstage and got Paul to embrace a full Atmos mix for the film.
Resolve Major Sound Issues Early
- Start by identifying which big sound problems need addressing early and gather as much production audio as possible to build around performances.
- Rich Quinn and Christopher used production material and chants to create synced cadences, then leaned on score and effects to shape chaos in the riot sequence.
Drum Hit Turned A Fall Into Comedy
- The riot mix blended chaotic score, crowd chants, fireworks and comic percussion to reflect both tension and humor.
- Christopher added piano and drum fills moving around the room and a big drum hit when Bob falls to underscore the Buster Keaton–style comedy beat.