"With “Roma,” Alfonso Cuarón’s black-and-white childhood remembrance of things past set in early 1970s Mexico City, the challenge was to recreate every sound in its own geographical environment while, at the same time, removing the city’s modern cacophony.
“Alfonso was adamant on how the sounds inside his house had to be authentic and with a precision inherent to the time and, more importantly, to his own memory. The exploration and recreation process for the interiors and exteriors of his house was huge,” said “Roma” sound editor Sergio Diaz.
The interior sounds included the metallic stairs, the light switches, and the grinding of the wood floors in each room. “For the exteriors, there was the sound of the birds at sunrise, the cars driving by Tepeji street at a moderate speed, the distant cars in the avenues, the sound of the propeller and turbine planes,” he said.
When it came to mixing (again, with the sophistication of Atmos), “Gravity” Oscar winner Skip Lievsay was tasked with making an extremely detailed environment for the actors to inhabit. “This included accurately panning all dialogue and associated foley for all on-screen and off-screen actions,” he said. The idea, he explained, was to encircle the viewers and draw them into the action as if standing beside the actors."
- by Bill Desowitz / December 27, 2018 4:44PM EST
“Alfonso was adamant on how the sounds inside his house had to be authentic and with a precision inherent to the time and, more importantly, to his own memory. The exploration and recreation process for the interiors and exteriors of his house was huge,” said “Roma” sound editor Sergio Diaz.
The interior sounds included the metallic stairs, the light switches, and the grinding of the wood floors in each room. “For the exteriors, there was the sound of the birds at sunrise, the cars driving by Tepeji street at a moderate speed, the distant cars in the avenues, the sound of the propeller and turbine planes,” he said.
When it came to mixing (again, with the sophistication of Atmos), “Gravity” Oscar winner Skip Lievsay was tasked with making an extremely detailed environment for the actors to inhabit. “This included accurately panning all dialogue and associated foley for all on-screen and off-screen actions,” he said. The idea, he explained, was to encircle the viewers and draw them into the action as if standing beside the actors."
- by Bill Desowitz / December 27, 2018 4:44PM EST
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