Ford v Ferrari is so much more than a race car movie. At its core, it’s a movie about a friendship, and about two men fighting for what they believe. In this episode the sound team talks about the carving out moments for internal character sounds to come through, the process of tracking down the original cars to keep the film sounding real, and the challenges of building a 45-minute racing sequence and keeping it acoustically interesting.

Paul Massey - Re-recording Mixer

Don Sylvester - Supervising Sound Editor

David Giammarco - Re-recording Mixer & Sound Designer

Moderated by Glenn Kiser, Dolby Institute

Recorded at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.

As a large-scale historical film, 1917 creates an intense and realistic soundscape of World War I. In this episode, we talk with the sound team, nominated for Best Sound Editing and Best Sound Mixing, about the challenges and fun experiences that arose from this film. In part 1, we talk with ADR and dialogue supervisor Rachael Tate about blending the unique amount of sound coverage into the film, trying to work with minimum ADR, and making sure that even background chatter is historically realistic. In part 2, production sound mixer Stuart Wilson shares challenges with mic placements, the importance of on-set sound for creating realistic tension, and the trust and communication among the production.

Supervising sound editors Matthew Wood and David Acord delve into the conceptual and sonic intricacies of evolving “force lightning,” and about working in stages from temp mixes to the final mix in a film with a legacy. They share experiences working playfully and dynamically with director J.J. Abrams, recording lines in actor Adam Driver’s closet, and working on previous Star Wars films.

Three time Academy Award-winning re-recording mixer Mike Minkler, multiple Oscar-nominated supervising sound editor Wylie Stateman, and effects mixer Christian Minkler discuss how they recreated 1969 Los Angeles for director Quentin Tarantino, including their approach to building the distinctive sound of the vintage television shows within the movie. They deconstruct the sound of the extraordinary Spahn Movie Ranch sequence, and discuss why Tarantino chooses to use songs rather than traditional musical score.

In this episode, seven-time Academy Award-winner Gary Rydstrom delves into using sound to create an increasingly unsettling journey for the audience through the use of subliminal ambiences, manipulated vocal loops, and strategically used distortion. We also deconstruct the film’s signature lunar rover chase sequence and discuss the film’s rules of sound, an important topic to director James Gray.

Ford v Ferrari is so much more than a race car movie. At its core, it’s a movie about a friendship, and about two men fighting for what they believe. In this episode production sound mixer Steven Morrow shares some insight to recording cars for Ford v Ferrari, his humble roots as an unpaid boom operator and the challenges of recording a variety of race cars on set.

Academy Award winning production sound mixer Mark Ulano talks double nominations for Ad Astra and Once Upon a Time... in Hollywood, Quentin Tarantino's nicknames for his crew, and about how his passion for sound takes him from McDonald's meetings to FaceTime space interviews to his thoughts on the next generation of filmmakers.

Academy Award winning supervising sound editor Alan Murray, re-recording mixer and sound designer Tom Ozanich and re-recording mixer Dean Zupancic discuss their continued debates over Joker theories, the layered artistic approach of sound, and how sound is used to explore a character's headspace.

In the second part of this conversation, we chat with production sound mixer Tod Maitland.

SoundWorks Collection was started in 2009 with the simple goal to profile the greatest and upcoming sound minds from around the world and highlight their contributions.

Over the past decade we have had the incredible honor to meet hundreds of sound artists and help share their incredible stories. We are excited for the future and thank the worldwide sound community for the ongoing support!

In this special 90-minute conversation, SoundWorks Collection founder Michael Coleman chats with friend and longtime collaborator Michael Tucker (Lessons from the Screenplay) and discuss how it all started.

Martin Scorsese’s longtime sound collaborators Eugene Gearty and Tom Fleischman (Oscar-winners for Hugo) have joined the acclaimed filmmaker once again for the epic film The Irishman. Much has been written about the visual effects used to de-age the actors playing the main characters, and in this episode we talk about the attempts made to de-age the sound of the actors voices, the challenges of building the film’s minimalist sound track, and the working collaboration Eugene and Tom have crafted over the years with Scorsese and his legendary film editor, Thelma Schoonmaker.