How do you create one of the most unsettling cinematic soundscapes in recent memory?
In this episode, Stephen sits down with Supervising Sound Editor & Sound Designer Eugenio Battaglia and Production Sound Mixer Jan Hetmer to explore the making of Backrooms— the highly anticipated feature adaptation of Kane Parsons' internet phenomenon.
From capturing production sound in impossible 360° shots to designing an oppressive sonic world built almost entirely from buzzing fluorescent lights, this conversation is a fascinating deep dive into how sound shapes fear, tension and atmosphere.
Jan shares the unique challenges of recording production sound inside the endless, empty spaces of the Backrooms, while Eugenio reveals how stripping away traditional ambiences, embracing silence and building intensely detailed Foley helped create a world that feels both familiar and deeply unsettling.
Whether you're a filmmaker, sound professional or horror fan, this episode offers a rare behind-the-scenes look at one of the year's most ambitious soundtracks.
- How Backrooms evolved from a YouTube phenomenon into a feature film
- Capturing production sound with ultra-wide lenses and 360° camera moves
- Using camera-mounted microphones to preserve perspective in impossible shots
- Why realistic room acoustics became a key part of the post-production process
- Building tension by removing sound instead of adding it
- The role of silence, buzzing fluorescent lights and minimal ambiences in creating psychological horror
- Designing believable found-footage sound while maintaining cinematic impact
- Creating creature vocals that avoid familiar horror clichés
- Worldising audio using real CRT televisions and vintage equipment
- The importance of close-perspective Foley and subtle sonic detail
- Collaboration between production sound and post-production teams
- Practical advice for aspiring production sound mixers and sound designers
- Why relationships, curiosity and adaptability are just as important as technical skill
One of the biggest themes throughout the conversation is that great horror sound isn't about making everything louder—it's about knowing what to remove.
Eugenio explains how reducing traditional background ambiences, focusing almost exclusively on the iconic fluorescent buzz, and allowing silence to create anticipation made the Backrooms feel unnervingly empty while keeping audiences constantly on edge.
Jan discusses the importance of capturing as much authentic production sound as possible, even mounting microphones directly to cameras when boom operators couldn't physically appear in shot. Those recordings later became invaluable references for recreating the unique acoustics of the Backrooms during post-production.
The episode also explores how respecting an established fanbase influenced creative decisions, balancing Kane Parsons' original online vision with the demands of a theatrical feature film.
Eugenio Battaglia is an award-winning Supervising Sound Editor and Sound Designer whose recent credits include Longlegs and Backrooms. Known for his immersive, close-perspective sound design and richly detailed Foley work, Eugenio specialises in building atmospheric, story-driven soundscapes.
Jan Hetmer is an acclaimed Production Sound Mixer with credits including The Monkey and Backrooms. Renowned for his technical ingenuity and collaborative approach on set, Jan has developed a reputation for capturing exceptional production dialogue in some of the industry's most demanding filming environments.
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