SoundWorks Collection

Director Matt Reeves joins sound supervisors Will Files & Douglas Murray, and composer Michael Giacchino in conversation about their four-film collaboration, starting with Cloverfield and culminating with this summer’s War for the Planet of the Apes. The artists discuss the unique challenges of utilizing the vocalizations of the human actors for the apes, how the trailer for Cloverfield drove the movie and the challenge of making a scary monster movie with no musical score, and why Michael Giacchino originally did not want to write the score for Let Me In.

Director Joe Wright and his sound supervisor Craig Berkey talk about using sound design to build worlds as diverse as Churchill’s World War II London in Darkest Hour, the synesthezia of a homeless schizophrenic in The Soloist, or a fantastic Neverland in Pan. Wright and Berkey explore why recording Foley in the real Churchill war rooms was important, how working in the London rave scene after college influenced Wright’s use of sound, and why having the score to play for the actors on set is important. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Darren Aronofsky is one of the most innovative and boundary-pushing directors working in cinema. Join him in conversation with his longtime sound supervisor Craig Henighan as they discuss their work on Requiem for a Dream, The Fountain, Black Swan, Noah, and mother! In this episode Aronofsky talks about how Mother! ended up without a musical score, creating the character of the house, and how each element of the track is deliberately crafted. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Three-time Academy Award winning sound supervisor Richard King discusses his remarkable collaboration with the director Christopher Nolan, which began with The Prestige and has continued through this summer’s Dunkirk. Richard talks about creating the sirens of the German dive-bomber planes, and addresses some of the controversies of Nolan’s mixes. He also touches on working with other directors including Paul Thomas Anderson, Sam Shepard, and Nicolas Roeg. Richard also answers questions from other sound designers. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Writer/director Edgar Wright joins sound designer Julian Slater in conversation about their remarkable five film collaboration, starting with Shawn of the Dead and continuing through their most recent film, Baby Driver. In this episode you’ll learn why Wright records sound on location scouts, dissect the sonic components of the infamous “Tequila” shoot-out scene from Baby Driver, and hear why Julian Slater feels Dolby Atmos was designed for the film. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

A discussion about the integration of sound within the storytelling process for the film "War for the Planet of the Apes" with Director Matt Reeves, Composer Michael Giacchino, and Sound Designers Will Files and Douglas Murray.

In this exclusive conversation, sound designers Craig Henighan and Will Files share their experiences creating sound for such films as "Mother!," "Stranger Things," "Deadpool," and "War for the Planet of the Apes" among others. Moderated by Michael Coleman of SoundWorks Collection at the 2017 Savannah Film Festival.

Academy Award-winning sound supervisor Mark Mangini visited Dolby world headquarters in San Francisco for a special screening of Blade Runner 2049. This podcast is a recording of his pre-show conversation with Glenn Kiser, Director of the Dolby Institute about the film.

The Skywalker Sound sound team behind the documentary In Pursuit of Silence - A Documentary Film recently discussed their approach for creating a dynamic mix and creative sound design to a film about silence. Featuring sound designer & supervising sound editor Steve Bissinger, re-recording mixer & additional effects editor Zach Martin and dialogue editor Shaun Farley. Moderator: Michael Coleman of Soundworks Collection In Pursuit of Silence (www.pursuitofsilence.com) is a fascinating and meditative film and exploration of silence and the impact of noise on our lives. Filmed in eight countries, it immerses us in a cinematic journey around the globe—from a traditional tea ceremony in Kyoto, to the streets of Mumbai, the loudest city on the planet—and inspires us to both experience silence and celebrate the wonders of our world. Other highlights include filming in the anechoic chamber at Orfield Labs in Minneapolis (the “Quietest Place on Earth”), Alaska’s Denali Memorial Park and Trappist and Zen monasteries, as the filmmakers distill our experience of the world and challenge us to see it anew.

In this exclusive audio profile we feature the sound team behind Director Denis Villeneuve's, Blade Runner 2049 featuring supervising sound editor Mark Mangini, sound designer Theo Green, re-recording mixer Doug Hemphill and Ron Bartlett, picture editor Joe Walker and Composer Hans Zimmer and Benjamin Wallfisch. Officer K (Ryan Gosling), a new blade runner for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who's been missing for 30 years.