Dolby Creator Talks

Making an independent film today is even more challenging than it was in its heyday of the 1990s. So we’re bringing you a panel discussion with directors of two of the festival favorites at this year’s SXSW Film Festival. Directors Hannah Pearl Utt (“Cora Bora”) and Emma Westenberg (“You Sing Loud, I Sing Louder”) take a deep-dive into the state of the independent film industry and the challenges involved in making a film in 2023, including (perhaps most importantly) how to get the gig in the first place:“I read the script and I pitched on it… And then when [the producers] were on board with my take… they said, ‘OK, now the next round is to pitch it to [producer and star] Ewan [McGregor].’ So I went on a Zoom [with him] and I pitched my take on it. Like how I would change the narrative slightly and make different turns. He was listening and then he said, ‘oh, I don’t like that at all.’ [laughs] I just turned beet red and in my head I was thinking — I can’t really back down now. Because this is the way I would tell the story and I don’t know how I would do it otherwise with conviction. So I tried to explain it to him… and then at some point he was like, ‘OK, yeah, maybe that is a good idea.’ I think also it was a little bit of a test to see if I would stick to my guns.”— Emma Westenberg, Director and Executive Producer, “You Sing Loud, I Sing Louder”This panel was moderated by independent producer Kennedy Davey at the 2023 SXSW Film Festival, where “You Sing Loud, I Sing Louder” and “Cora Bora” had their premieres.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

6-time Emmy Award winning (Stranger Things, Love Death + Robots) sound designer, supervising sound editor, and re-recording mixer Craig Henighan has worked with director Darren Aronofsky since Requiem for a Dream. And with A24’s 25th anniversary re-release of Pi, Craig discusses the challenges of updating its original soundtrack. The indie film’s razor thin budget only allowed for a four day mix back in 1998, and as a result, Craig had his work cut out for him as he reconstructed and rebuilt the original soundtrack into its stunning new remaster and Dolby Atmos® mix.Craig also dishes on the collaborative process of working with legendary directors such as Aronofsky and Alfonso Cuarón (Roma), the latter of whom helped earn Craig his first Academy Award nomination.This discussion took place in front of a live audience at the 2023 SXSW Film Festival.Be sure to check out A24’s 25th anniversary re-release of Darren Aronofsky’s Pi.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

It is a time of great disruption in both independent and studio cinema. Join us for a conversation on the evolving role of film festivals in this dramatically changing landscape. We delved into topics such as the role of streaming platforms and online vs in-person festivals. And tackle questions such as how festivals can develop the next generation of talent, and how exactly DOES one get a film into SXSW or Sundance?Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Table of Contents: 00:02:17 - ALL QUIET ON THE WESTERN FRONT - James Friend, ASC, BSC. 00:29:23 - BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS - Darius Khondji, ASC, AFC. 00:51:23 - ELVIS - Mandy Walker, ASC, ACS. 01:22:59 - EMPIRE OF LIGHT - Roger Deakins, CBE, ASC, BSC. 01:59:27 - TÁR - Florian Hoffmeister, BSC. We are thrilled to bring you these interviews with ALL FIVE of the nominees in the Cinematography category for this year’s Academy Awards. The nominated Directors of Photography are in alphabetical order, by film, in the index above. This is a super-sized episode because each of these interviews are brand new and exclusive to The Dolby Institute Podcast. So get your Oscar ballot ready and enjoy these in-depth discussions about the groundbreaking work these talented individuals have brought to the craft of cinematography this year. If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, be sure you are subscribed to us wherever you get your podcasts. Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT, BARDO, ELVIS, EMPIRE OF LIGHT, and TÁR before Oscars voting ends! You can also check out the video for this episode, if you’d prefer to watch these interviews and clips from each of the films, on our YouTube channel. Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Table of Contents: 0:02:03 - ALL QUIET ON THE WESTERN FRONT0:22:49 - AVATAR: THE WAY OF WATER0:53:44 - THE BATMAN1:05:44 - ELVIS1:39:20 - TOP GUN: MAVERICKWelcome to this year’s coverage of the Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order:ALL QUIET ON THE WESTERN FRONT —Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan KorteAVATAR: THE WAY OF WATER — Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael HedgesTHE BATMAN — Stuart Wilson, William Files, Douglas Murray, and Andy NelsonELVIS — David Lee, Wayne Pashley, Andy Nelson, and Michael KellerTOP GUN: MAVERICK — Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark TaylorWith the exception of ELVIS (due to time), each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue:0:02:03 - ALL QUIET ON THE WESTERN FRONT - from episode 139, January 10, 2023Edward Berger — Writer and DirectorLars Ginzel — Re-recording MixerViktor Prášil — Production Sound MixerFrank Kruse — Sound Supervisor and Sound DesignerUnfortunately, nominee Stefan Korte (Re-recording Mixer) was unable to join us at the time of this recording0:22:49 - AVATAR: THE WAY OF WATER - from episode 140, January 14, 2023Christopher Boyes — Re-recording Mixer, Supervising Sound Editor, and Sound DesignerDick Bernstein — Supervising Sound EditorMichael Hedges — Re-recording MixerJulian Howarth — Production Sound MixerGwendolyn Yates Whittle — Supervising sound editorUnfortunately, nominee Gary Summers (Re-recording Mixer) was unable to join us at the time of this recording.0:53:44 - THE BATMAN - from episode 116, March 8, 2022Matt Reeves — DirectorMichael Giacchino — ComposerWilliam Files — Supervising Sound EditorDouglas Murray — Supervising Sound EditorAndy Nelson — Re-recording MixerUnfortunately, nominee Stuart Wilson (Production Sound Mixer) was unable to join us at the time of this recording.1:05:44 - ELVIS - recorded recently, exclusively for this episodeDavid Lee — Production Sound MixerWayne Pashley — Re-recording Mixer, Sound Designer, and Supervising Sound EditorMichael Keller — Re-recording MixerAndy Nelson — Re-recording Mixer1:39:20 - TOP GUN: MAVERICK - from episode 133, November 22, 2022Joseph Kosinski — DirectorBjørn Schroeder — Supervising Sound EditorJames H Mather — Supervising Sound EditorAl Nelson — Supervising Sound EditorChris Burdon — Re-recording MixerMark Taylor — Re-recording MixerUnfortunately, Mark Weingarten (Production Sound Mixer) was unable to join us at the time of this recording.Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT, AVATAR: THE WAY OF WATER, THE BATMAN, ELVIS, and TOP GUN: MAVERICK before Oscars voting ends!We have another episode for Best Cinematography coming up. So if you haven't already, please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Our coverage of the 2023 Academy Awards continues with another film on the Best Sound shortlist — “Babylon.” The work of director Damien Chazelle (“La La Land,” “Whiplash”) is certainly no stranger to awards season, so this is definitely a film to watch out and, in this case, listen for.Joining us today is re-recording mixer, sound designer, and supervising sound editor Ai-Ling Lee; supervising sound editor Mildred Iatrou Morgan; and production sound mixer Steve Morrow. If you’ve seen the film then you already know it is a bombastic depiction of Hollywood decadence in the time of transition from the silent film era to “the talkies.” And from the what we’ve heard in today’s episode, the production was appropriately over-the-top as well.“Damien’s thing was — ‘this is great, but let's go bigger.’ I think Margot Robbie had a story where she said, ‘I put everything out there and I was going crazy.’ And he walked over and I thought, ‘oh, that's it. He's gonna tell me to tone it back.’ And he goes, ‘ok, can you go a little bigger than that?’ That was kind of the idea behind the whole film. It's — let's go bigger, let's go bolder, let's go beyond what's reasonable, and then we can pull back from there. But let's just see where that line is. And so that's how we treated it on production. We just went as extreme as we could.”—Steve Morrow, Production Sound Mixer, “Babylon”Be sure to check out Babylon in a theater near your, in Dolby Atmos® where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

As we continue our 2023 Awards coverage, today we are talking to the sound team behind another film on the Best Sound Academy Awards shortlist — “Avatar: The Way of Water.”Joining us is four-time Academy Award winning re-recording mixer, supervising sound editor, and sound designer Christopher Boyes; supervising sound editor Dick Bernstein; re-recording mixer Michael Hedges; sound mixer Julian Howarth; and supervising sound editor Gwendolyn Yates Whittle.As you’ll hear about in detail in this interview, every member of the sound and music teams needed to work very closely together, in a concerted effort, to make the sound of this film as clean and as clear as possible. Or as James Cameron would often put it, “clarity is king.” Easier said than done with a movie this complex.“In the end, Avatar — visually — is such a complicated image. And I think the human brain can easily take that in and enjoy it. But we — delivering the sound of Avatar — have to work against that, because the human brain can look at all those beautiful visuals, but can't necessarily process a thousand different sonic notions. Really, we wanna simplify it and get the sound to speak to the story that we're trying to tell. And it's not part of the story, it doesn't belong in the track.”— Christopher Boyes, Re-recording Mixer, Supervising Sound Editor, and Sound Designer, “Avatar: The Way of Water”“Avatar: The Way of Water” is now in theaters, in Dolby Vision® and Dolby Atmos®, where available.Be sure to check out our earlier episode with Gwendolyn Yates Whittle, on dialogue editing and ADR.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

This week we sit down with the writer/director and sound team behind the harrowing new adaptation of "All Quiet on the Western Front." Joining director Edward Berger is sound supervisor and sound designer Frank Kruse, sound designer Markus Stemler, re-recording mixer Lars Ginzel, and production sound mixer Viktor Prášil. This film has been shortlisted for the Academy Award for Best Sound, and as Berger says in the interview, this team has a strong track record when it comes to winning sound awards in Germany. So this is definitely a film to keep an eye (and ear) on this awards season.During the conversation, Berger also discusses why he felt now was the ideal time to tackle this adaptation of the classic World War I novel, and how the team approached the sound design and mix for the film, which — to the director — was all about harsh contrasts and abrupt sound cuts:“The film is very much about contrasts. You mentioned the generals and the soldiers. Thematically that's one. But there's also: Destruction and peace, noise and silence, battle and exhaustion, wide shots and closeups, darkness and light. So a lot of it is in contrast. And I love abrupt sound cuts, really hard sound cuts, because they always shake me awake in the movie theater. I always go, ‘oh God, something changed.’ And I have to change pace and I have to listen up. So we had talked about and thought a lot about those contrasts and those hard sound cuts that lent themselves to a rich design, I think.”— Edward Berger, Writer/Director, “All Quiet on the Western Front” (2022)The film's Dolby Atmos® mix can be experienced in the Netflix app — with the German language track enabled — and in Dolby Vision® for compatible screens.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

The 2022 Sundance Grand Jury Prize winner was the first ever horror film to win the top award at the film festival. But before that, "Nanny" — the feature film debut from Nikyatu Jusu — was also the recipient of the 2022 Dolby Institute Fellowship, which awards a low-budget Sundance film with a post-production grant to finish the film in Dolby Vision® and Dolby Atmos®.Now that "Nanny" is available to stream on Prime Video, we recently sat down with writer-director Nikyatu Jusu, supervising sound editor Dave Flynch, and Academy Award winning re-recording mixer Skip Lievsay to discuss the film’s rich soundtrack. This episode was recorded during a live post-screening Q&A for the Artist Academy — Film at Lincoln Center’s program for young filmmakers — and was moderated by our executive producer Amanda Schneider.“We talked a lot about character arc for the soundscape… There is a tendency to neglect sound in the conception stage. And if you think about your soundscape as a character, then you can have an arc for that soundscape so that the audience doesn't become numb, with a relentless soundscape that is not ebbing and flowing.”— Nikyatu Jusu, Writer and Director, "Nanny"Be sure to check out "Nanny" on Prime Video.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Two-time Academy Award winning director Guillermo del Toro and his co-director Mark Gustafson join us to discuss their latest work — appropriately titled — “Guillermo del Toro’s Pinocchio.” Despite being stop-motion animation, the film features a rich sound design and complex mix. One which the directors had to fight for.“Mark [Gustafson] and I had to fight for the time that we needed on the mix board originally, because [for an] animated movie, they gave us a number of weeks. And we said, ‘no, we need more.’ Scott and I knew that our timing generally takes a little longer. But I think that we ended up understanding that we needed as many passes as a live-action movie — a big one — to reach simplicity. Which is very, very, very at odds. To be simple, we needed to elaborate the mix and make sure we were not mixing something superficial.”— Guillermo del Toro, Director, “Guillermo del Toro’s Pinocchio”Joining the discussion is sound supervisor Scott Gershin, along with re-recording mixers Frank A. Montaño and Jon Taylor, the latter of whom you may remember from our episode on BARDO from earlier this week. Be sure to check out “Guillermo del Toro’s Pinocchio,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.