SoundWorks Collection The Sound of One Battle After Another
Dec 9, 2025
Tony Villaflor, a re-recording mixer renowned for his immersive film mixes, joins Chris Scarabosio, a supervising sound editor celebrated for his work with Paul Thomas Anderson. They delve into the intricate sound design of One Battle After Another, revealing how riot sequences and atmospheric chases were crafted. The duo discusses their approach to naturalistic mixing, highlighting the unique ways sound can shape storytelling, while also sharing insights into their collaborative work with Anderson's distinct vision for gritty realism.
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Early Atmos Push Sets Tone
- Tony Villaflor recalled watching the first 75 minutes and immediately pushing to “go for it” with Atmos for the film.
- He mixed the opening 15 minutes and Paul Thomas Anderson approved that approach, setting the creative tone early.
Keep Sound Natural And Seamless
- Tony Villaflor insisted sound must feel natural and part of the film's fabric, not like an added effect.
- Fix anything that sounds like it was artificially inserted to preserve realism and grit.
Widening The Screen With Atmos
- Paul Thomas Anderson asked to “widen the screen,” which the team interpreted as using Atmos objects when story and picture warranted it.
- The crew seized chances to be immersive while staying true to Paul's aesthetic and taste.