Legendary Foley artist John Roesch (E.T., Back to the Future, Inception) discusses his impressive career and why Foley can't come from an effects library.

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Visual artist Sophie Clements and her sound design/music collaborator Jo Wills discuss how they use sound and images to instill wonder, awe, and seduction.

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Tim Gedemer, one of the most experienced virtual reality sound artists reveals why traditional filmmakers tend to stumble in their first VR experiences.

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Leading Broadway sound designer Nevin Steinberg discusses his work on hit shows including Hamilton, Bright Star, The Full Monty, and Spamalot.

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Academy Award® nominees Lon Bender and Martín Hernández discuss their BAFTA-winning work on The Revenant and recording Foley on real snow (with horses!).

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Oscar®-nominated sound artists Mark Mangini and David White, talk about the challenges of managing such an epic production, and the use of silence in chaos.

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Two-time Academy Award® winner Alan Murray, discusses how low-end sound can heighten tension and his 40-year collaboration with Clint Eastwood.

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Emmy® award-winning sound designer Daniel Colman (Battlestar Galactica and Marvel's Agents of S.H.I.E.L.D.) shares why musicians make the best sound designers.

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In this episode, two-time Academy Award® nominee Gwen Yates Whittle reveals why director George Lucas thinks dialogue editing is one of the most important parts of the process.

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Ten-time Academy Award® nominee Anna Behlmer talks about being one of the first female mixers in the movie business and how to handle a nervous director.

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