Sound Perspective

Ron Bartlett is a re-recording mixer working at the Formosa Group in LA, with over 170 credits to his name, including Bladerunner 2049, Reservoir Dogs, The Assassination of Jesse James by the Coward Robert Ford, Us, and the upcoming Dune film by Denis Villeneuve.

In this Skype interview we chatted about his intro to sound through drumming, the experience of working on both Bladerunner films, and his memories of Quentin Tarantino as a young up-and-comer in the indie LA scene.

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Jed Kurzel is an Australian composer living in England. He is the brother of Australian director Justin Kurzel, and in addition to having scored all of his films (Snowtown, Assassins Creed and The True History of the Kelly Gang) he's composed for films such as Alien: Covenant, The Babadook and The Nightingale.

In this Skype interview me and Jed talked about his upbringing with Justin, the difference between film composition and song-writing and what composers can do to add to a film.

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Karen Baker Landers is a two-time Oscar-winning sound editor in LA, working for the Formosa Group. Her credits include The Bourne franchise, Skyfall, Spectre and Black Hawk Down.

In this Skype interview we talked about her fascination with sound in storytelling since a young age, working with an audiences expectations of "movie" sound, and keeping the sound authentic in her most recent Netflix film Sergio.

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Justin Kurzel is an Australian director working in London; his films include Snowtown, The True History of the Kelly Gang, Macbeth and Assassins Creed. In this Skype interview we talked about his origins in theatre design, his collaboration with his brother and regular composer Jed Kurzel, creating a social-realistic sound in Snowtown and the influence of his favourite book.

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For my first interview with a picture editor I was lucky enough to talk to the Oscar-nominee Douglas Crise! Douglas's credits have included Birdman, Babel, Spring Breakers and The Beach Bum. After seeing The Beach Bum I was absolutely compelled to chat to the person behind the edit.

In this Facetime call we talked about how Doug likes to work with temp sound, the development of the iconic soundtrack of Spring Breakers, Harmonie Korines' 6 hour workdays(!) and the tricks of cheating a one-shot in Birdman.

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For this episode I did a cheeky little pod swap with the amazing sound design podcast Tonebenders. The Tonebenders hosts are incredibly talented with heaps of industry experience and they've been making awesome content for years so it was an absolute pleasure to hear from them and collaborate on this.

In this ep you'll hear their interview with Brad Engleking, the sound designer of Terence Mallicks' most recent film A Hidden Life. As the only sound designer on a 3 hour film Brad really had his work cut out for him but he did a phenomenal job and this interview is a really interesting insight into his process by some people a lot more talented and experienced than me!

Tonebenders will be releasing my Peter Weir interview in the next few weeks but please go check out their podcast, it's available on iTunes, Spotify and wherever you get your podcasts.

Website https://tonebenderspodcast.com/

Find them on Twitter @thetonebenders or Facebook @Tonebenders

Happy International Womens Day! As a late celebration here's a new episode with one of my favourite female directors, Mirrah Foulkes. Her first feature, Judy and Punch, is a violent, feminist retelling of the traditional Punch and Judy story. It premiered at Sundance in 2019, and she came on the podcast to chat about her journey from acting to directing, the process of finding the right music for her movie and the experience of making your first feature.

Judy and Punch will be coming to American cinemas from April 24th!

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Listen to the entire interview with Wayne Pashley, Derryn Pasquill and Andrew Miller from Big Bang Sound Design from episode 1 talk about their work on Mad Max, working with George Miller, their time on the Great Gatsby as well as a deep dive by Andrew Miller into sound effects editing for gunshots and action sequences.

David White was the Oscar-winning sound designer on Episode 1 of the podcast, one of the several people I talked to about the soundtrack of Mad Max: Fury Road. In this complete interview with him he discusses his acting background, what it was like working with George Miller, what the Australian film industry could do better, and how story should take precedence over everything else.

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I went down to Big Bang Studios in Rosebery to chat with director Mike Green, sound designer Peter Climpson and mixer Wayne Pashley, who I'd previously talked to in my episode about Mad Max. We chatted about Mike's debut feature, Outback, a psychological thriller set in the Australian desert, how Mike and Peter developed a style in the films soundtrack, and what Wayne was able to bring as a seasoned sound mixer.

Outback premieres at Monsterfest in Melbourne on Saturday 12th October. Tickets at http://www.monsterfest.com.au/australia/program/?layout=grid

Follow the film at https://www.facebook.com/Outbackthemovie/

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