Sound Perspective

In this episode I talk with a big name in Australian sound design, Annie Breslin. Annie has worked for decades in Australian post-production sound as well as film preservation and archiving, with directors such as Gillian Armstrong, Samantha Lang and Rachel Perkins, as well as in theatre and installation. She talked about the "old days" of Australian film, how she develops characters through a soundtrack and maintaining a work-life balance in this industry.

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Peter Strickland is the British auteur director of underground cult hits such as The Duke of Burgundy, Berberian Sound Studio and In Fabric, which this year premiered at Toronto International Film Festival. I got the pleasure of interviewing him while he was in Sydney for a Q&A at AFTRS.

In this interview he talked about the struggles of post-production on a budget, his process of collaborating with composers, and how he uses music to communicate ideas to his actors.

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Yulia Akerholt is an Australian soundie who has worn all the hats in post-production sound over her career, specialising mostly in dialogue editing. She's worked on countless great Australian films such as Tracks, Samson and Delilah, and Little Fish.

We had a great chat about the often under-appreciated art of dialogue editing, designing the desert landscape of Tracks, working with Warwick Thornton and what it takes to break into the Australian industry these days.

Find her on IMDB here https://www.imdb.com/name/nm0009945/

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For my coverage of Sydney Film Festival I interviewed Rob Braslin, one of five directors of Dark Place, an anthology of five short horror films by Indigenous directors; also joining us was actress Sara Pensalfini, who starred in Rob's short Vale Light. We talked about what it was like to work with a sound designer for the first time, the influence of his Indigenous background on his filmmaking and the unconventional process of being one of many directors in a single project.

Dark Place is screening this Saturday and Sunday 15th and 16th of June for SFF. Get tickets here https://www.sff.org.au/program/browse/dark-place

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I had the pleasure of interviewing Samuel Van Grinsven and Stuart Melvey, director and re-recording mixer of the indie feature film Sequin in a Blue Room, which is premiering at Sydney Film Festival this month. They talked about making a thriller about contemporary queer culture, the struggles of indie filmmaking and creating a sense of claustrophobia in the soundtrack.

Follow Sequin in a Blue Room's social media for updates on upcoming festivals here:

https://www.facebook.com/sequininablueroom/

https://www.instagram.com/sequininablueroom/?hl=en

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https://www.soundperspectivepodcast.com/

I was fortunate enough to sit down with the 6-time Academy Award nominated Australian filmmaker Peter Weir, director, writer and producer of films such as Picnic at Hanging Rock, Dead Poets Society and Master and Commander.

Peter is an incredibly interesting person, and talked about everything from the influence of Jung's writings during the making of Picnic at Hanging Rock, his take on Television, and the various collaborations he's had with soundies over the years. Talking with him was an absolute pleasure, and I hope you enjoy it!

Side-note, apologies for the occasional crackles, the recorder started mucking up mid-interview and I didn't want to interrupt his flow!

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Whilst on holiday in England, I hopped on the train to Twickenham Studios, just outside London, to have a chat with James Mather, who was sound supervisor of the last four Harry Potter films as well as having worked on Mission Impossible: Rogue Nation, Clash of the Titans and countless others. James has been working in the British industry for decades now, and he was kind enough to invite me to his studio for an interview on the eve of 2019.

James talked about some really interesting stuff including how they approached the changing tone of the Harry Potter franchise in the soundtrack, his methodology when working on action sequences and how picture editors and the sound department can learn from each other.

I interviewed Oscar-Winning director, writer and producer George Miller, amongst many other talented people, for Episode 1 of the podcast, "Fury Road: From Storyboard to Soundtrack." With so much great content I was unable to fit into an hour, I'm releasing them all individually.

Here you can listen to George talk not only about Fury Road but also the history of sound in film, his childhood, how the composers he's worked with have influenced him and what people could learn from the Kiwi film industry.

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Stills photography by Julian Pertout; check out his work at https://www.instagram.com/julianpertout/

Ben Osmo is an Oscar-winning Australian sound recordist whose extensive list of credits include Strictly Ballroom, Alien: Covenant and many of George Miller's films. We talked about his working relationship with George Miller, how he uses his role to help facilitate the film-making process, the technical challenges he encountered on Mad Max and Babe, and the state of the Australian industry.

Find his music at https://soundcloud.com/benosmo

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In this episode I chatted to musicians and sound designers CORIN, Becky Sui Zhen and Casey Hartnett about the music they composed for the Masters of Modern Art exhibition at the Art Gallery of NSW. I chatted with them about their collaboration, what it's like creating music for interactive audio-visual guides and how their music-making process is different when it's supporting visual media; included are a few tracks of their solo material as well.

The Masters of Modern Art exhibition is on at the Art Gallery of NSW until the 3rd of March 

To check out their music and other work, go to their websites:

 https://soundcloud.com/corinmusic

http://caseyhartnettsound.com/

http://www.suizhen.com.au/welcome/

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www.soundperspectivepodcast.com