In this exclusive video Veteran music writer Jon Burlingame chats with Oscar nominated Composer Nicholas Britell about his recent work on, “If Beale Street Could Talk” and the organic process of collaborating with the director Barry Jenkins on the film’s lush and evocative score.

In early 1970s Harlem, daughter and wife-to-be Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny. Friends since childhood, the devoted couple dream of a future together, but their plans are derailed when Fonny is arrested for a crime he did not commit.

Supervising sound editor and re-recording mixer Steve Boeddeker and re-recording mixer Brandon Proctor talk about how the sound design of futuristic Wakanda technology and weaponry is influenced by West African sounds, how they used signature sounds to differentiate the action in Wakanda, Oakland, and Korea, and the intricacies of constructing the ritual fight scenes in a waterfall.

Sound Editing nominees John Warhurst and Nina Hartstone join Sound Mixing nominees Paul Massey, Tim Cavagin, and John Casali to discuss the intricate work of building the sounds of the rock band Queen for Bohemian Rhapsody. In this episode the team discusses the process of recreating the band’s famous 1985 Live-Aid concert performance, how sound design helped to get inside the head of an agitated Freddie Mercury during an infamous London press conference, and how having access to the band’s original session tapes let this Oscar-nominated team build the amazing scene where the band records the iconic “Bohemian Rhapsody” single.

Co-supervising sound editors Erik Aadahl and Ethan Van der Ryn talk about the challenges of building the sound scape for what many people think is a “silent” movie, how sound design was used to give the audience the experience of the hearing impairment of one of the main characters, and the fun of creating an alien monster who hunts and navigates using only its hearing.

Writer/Director Brad Bird and Producer Nicole Paradis Grindle join us from the studios at Pixar to discuss returning fourteen years later for the sequel to a beloved film as they describe the technical challenges of the new movie, how their approach to visual design, color, and sound have evolved, and the inspiration behind the notorious fight scene between baby Jack-Jack and the raccoon.

Songwriter Diane Warren has written hundreds of hit songs including “Because You Loved Me”, “If I Could Turn Back Time”, “Rhythm Of The Night”, “I Don’t Want To Miss A Thing” and many more. Diane has won a Grammy Award, an Emmy Award, a Golden Globe Award, three consecutive Billboard Music Awards for Songwriter of the Year, and has been nominated for nine Academy Awards.

Many of her songs were written for films, and have then gone on to be launched into the stratosphere of pop culture. In recent years her music has tackled incredibly important subjects. She has written “Til It Happens To U” with Lady Gaga, “Stand Up For Something” with contributions from Common, and of course now “I’ll Fight” which was performed by Jennifer Hudson for the documentary RBG, about Supreme Court Justice Ruth Bader Ginsburg.

Supervising Sound Editors Curt Schulkey and Geoffrey Rubay join us to chat about their work on Spider-Man: Into the Spider-Verse and discuss the incredible task of introducing a new unlikely hero, Miles Morales and his five counterparts from another dimensions to stop a threat for all realities.

Bitten by a radioactive spider in the subway, Brooklyn teenager Miles Morales suddenly develops mysterious powers that transform him into the one and only Spider-Man. When he meets Peter Parker, he soon realizes that there are many others who share his special, high-flying talents. Miles must now use his newfound skills to battle the evil Kingpin, a hulking madman who can open portals to other universes and pull different versions of Spider-Man into our world.

The Sound of First Man motion picture soundshow featuring Director Damien Chazelle, Re-recording Mixer/Sound Designer/Supervising Sound Editor Ai-Ling Lee, Supervising Dialogue Editor Susan Dawes and Re-recording mixers Jon Taylor and Frank A. Montaño.

Featuring special sound breakdown sequences including the X15 flight, Gemini Rocket walk-up and launch and Neil Armstrong moon walk dialogue.

Recorded on December 18, 2018 on the Hitchcock Mixing Stage at Universal Studios and moderated by Michael Coleman from SoundWorks Collection

In this exclusive conversation we talk with Supervising sound editors and sound designers Renee Tondelli and Eugene Gerty about their recent work on Mary Poppins Returns directed by Rob Marshall.

Now an adult with three children, bank teller Michael Banks learns that his house will be repossessed in five days unless he can pay back a loan. His only hope is to find a missing certificate that shows proof of valuable shares that his father left him years earlier. Just as all seems lost, Michael and his sister receive the surprise of a lifetime when Mary Poppins -- the beloved nanny from their childhood -- arrives to save the day and take the Banks family on a magical, fun-filled adventure.

Director Josie Rourke talks about why telling “better versions of our history” gave herpurpose intelling this particular story atthis particular time, how she approachessound differently for cinema and live stage productions, the importance of silence to her story, and how Dolby Atmos allowed her to subtly introduce the sound of whistling wind in the overhead speakers to remind the audience of how drafty and cold 16thcentury stone castles could be.