In this two-part episode, Writer/Director Alfonso Cuarónjoins his sound, picture, and music editorial artists to discuss the extraordinarily detailed work that went into re-creating the Mexico City of his 1970s childhood, including how not having a musical score keeps the audience guessing what will happen next, why it was important to have the dialog emanate not just from the screen channels but all around the audience, and how shooting the movie in sequence allowed for more spontaneous performances.

In part two, Supervising sound editor & re-recording mixer Skip Lievsay takes us on a deep dive discussion of how the film’s complex tracks were constructed, including a discussion of the 70-day final mix of the film.

Alfonso Cuarón, Writer/director

Skip Lievsay, Supervising sound editor & Re-recording mixer

Craig Henighan, Sound designer and Re-recording mixer

Jose Garcia, Production sound mixer

Adam Gough, Picture editor

Lynn Fainchtein, Music supervisor

Carlos Morales, Post-production supervisor