WEBVTT 1 00:00:05.120 --> 00:00:07.960 Old ye is boot. It's show Died. 2 00:00:08.679 --> 00:00:11.279 People say good money to see this movie. When they 3 00:00:11.320 --> 00:00:14.759 go out to a theater. They want cold sodas, hot popcorn, 4 00:00:15.000 --> 00:00:17.480 and no monsters. In the Protection Booth. 5 00:00:17.359 --> 00:00:19.199 Everyone pretend podcasting isn't boring. 6 00:00:20.239 --> 00:00:20.879 Burn it off. 7 00:00:42.039 --> 00:00:44.439 The Virgil was built in nineteen twenty three. 8 00:00:45.520 --> 00:00:48.560 Today it's one of the most exclusive buildings in Manhattan. 9 00:00:50.000 --> 00:00:51.640 Hi, I'm a new maid. 10 00:00:52.920 --> 00:00:57.000 With such wealth comes the expectation of the highest quality 11 00:00:57.079 --> 00:00:57.679 of service. 12 00:01:01.759 --> 00:01:02.719 It's a lot of lucks. 13 00:01:07.680 --> 00:01:11.799 This building is a temple to sayan each month, we 14 00:01:11.920 --> 00:01:16.760 must pay with a human sacrifice. 15 00:01:17.840 --> 00:01:53.599 Tonight you are the offering. Humm, gotcha? You have a 16 00:01:53.640 --> 00:01:56.040 little set. 17 00:01:58.200 --> 00:01:59.480 There has to be a way out of here. 18 00:02:01.359 --> 00:02:05.040 The building was designed to be a death trapper. 19 00:02:13.719 --> 00:02:18.560 Our offering is on the loose, on the lookout. I 20 00:02:18.639 --> 00:02:20.439 just dropped her picture in the group chair. 21 00:02:22.800 --> 00:02:26.719 Fuck you, no, fuck you, no bitch, fuck you, fuck you. 22 00:02:30.479 --> 00:02:34.599 I don't know what is going on in here, but 23 00:02:34.879 --> 00:02:37.120 Ray I am forgiving. 24 00:02:43.599 --> 00:02:46.800 The buck? Are you? 25 00:03:03.240 --> 00:03:04.639 Where did you learn how to fight like that? 26 00:03:08.280 --> 00:03:08.639 Prison? 27 00:03:20.919 --> 00:03:23.400 Hey, folks, welcome to a special episode of The Projection Booth. 28 00:03:23.400 --> 00:03:25.960 I'm your host, Mike White. On this episode, I'm talking 29 00:03:25.960 --> 00:03:28.960 with Jeffrey Pitts and Duncan McCrae. They were two people 30 00:03:29.000 --> 00:03:32.719 behind the sound of They Will Kill You. It is 31 00:03:32.800 --> 00:03:36.159 a new movie starring as Zazie Beats, and it is 32 00:03:36.520 --> 00:03:38.719 kind of phasing out from theaters right now. Should be 33 00:03:38.759 --> 00:03:42.560 on demand pretty darn soon. Had a great time watching 34 00:03:42.599 --> 00:03:46.360 this in the theater. Wonderful sound mix, and I'm really 35 00:03:46.479 --> 00:03:48.800 excited for you guys to hear more of how that 36 00:03:48.960 --> 00:03:51.199 was put together. Got to say, there's a little bit 37 00:03:51.199 --> 00:03:53.800 of spoilery things in this, so if you don't want 38 00:03:53.840 --> 00:03:57.240 to twist or turns ruin, please go ahead, turn off 39 00:03:57.240 --> 00:03:59.840 the show, go watch the movie, come on back. You 40 00:03:59.840 --> 00:04:02.599 know how this works. Thanks so much for listening, and 41 00:04:02.639 --> 00:04:05.240 I hope you enjoyed this interview. Jeff I want to 42 00:04:05.280 --> 00:04:06.599 start with you. Can you tell me a little bit 43 00:04:06.599 --> 00:04:09.479 about your journey and how you got into working with sound. 44 00:04:10.199 --> 00:04:14.319 I think all of us generally have a bug for 45 00:04:14.479 --> 00:04:16.920 audio at some point and then we just follow the 46 00:04:16.920 --> 00:04:21.439 bread crumbs. And while everybody's story is different, but I'm 47 00:04:21.439 --> 00:04:25.199 pretty much self taught and moved out here in two 48 00:04:25.240 --> 00:04:29.120 thousand and six and got a job and doing some 49 00:04:29.240 --> 00:04:32.000 like technical thing the build computers and did all that 50 00:04:32.040 --> 00:04:34.319 kind of stuff as well, And so I got a 51 00:04:34.399 --> 00:04:37.519 job at a studio because I could fix a computer 52 00:04:37.560 --> 00:04:38.480 problem that they were having. 53 00:04:38.519 --> 00:04:41.000 So in the interview he was. 54 00:04:40.959 --> 00:04:43.680 Like, ah, we have this problem with the thing, and 55 00:04:44.439 --> 00:04:45.639 I was like, oh, I can fix that. 56 00:04:46.439 --> 00:04:47.279 So I fixed that. 57 00:04:47.319 --> 00:04:49.800 I got into the studio, and then it turned into 58 00:04:50.720 --> 00:04:53.720 me editing some stuff on the side, and I remember 59 00:04:53.759 --> 00:04:59.160 this really crazy movie like something wasn't cut for the movie, 60 00:04:59.360 --> 00:05:02.199 like a whole the whole movie. There's like a whole 61 00:05:02.240 --> 00:05:05.800 pass of a prop or something that wasn't cut. So 62 00:05:06.120 --> 00:05:07.360 I was like, oh, I'll cut it. So I just 63 00:05:07.360 --> 00:05:11.759 went into the ADR studio and just cut this thing 64 00:05:11.800 --> 00:05:15.560 that was missing and just send it over to the stage. 65 00:05:15.600 --> 00:05:19.120 And then from then it was like, oh, okay, keep going. 66 00:05:19.920 --> 00:05:22.160 Good initiative, You got there, mister Pitts. 67 00:05:22.399 --> 00:05:22.639 Yeah. 68 00:05:22.639 --> 00:05:24.879 I would say that the best thing to do is 69 00:05:24.959 --> 00:05:29.639 to focus on the foundations of your craft and make 70 00:05:29.680 --> 00:05:31.920 sure that you're not faking it and then you know 71 00:05:31.959 --> 00:05:34.720 why you're doing a thing. If you have all those foundations, 72 00:05:35.560 --> 00:05:39.160 then you're going to be doing well. Might not be successful, 73 00:05:39.199 --> 00:05:42.240 I think that's a lot of that's luck, but you 74 00:05:42.319 --> 00:05:46.040 will be doing well and keep practicing That's the thing 75 00:05:46.399 --> 00:05:49.560 is like, when I wasn't working, I was constantly lifting 76 00:05:50.399 --> 00:05:52.319 scenes off of DVDs and just cutting. 77 00:05:52.079 --> 00:05:53.480 Them and doing that. 78 00:05:54.439 --> 00:05:56.199 I am very scrappy in that way, and it just 79 00:05:56.240 --> 00:05:59.759 kind of came up and did everything myself. 80 00:06:00.759 --> 00:06:04.360 Duncan, what's your journey? How'd you get into audio? 81 00:06:05.439 --> 00:06:08.519 I was born raised in the East Coast of Australia 82 00:06:08.920 --> 00:06:13.279 and was mostly heavy into music or growing up and 83 00:06:13.319 --> 00:06:16.959 playing in bands and chasing the rock star dream, I suppose, 84 00:06:17.240 --> 00:06:21.439 and ended up going to college for audio production, university 85 00:06:21.439 --> 00:06:24.879 as we would call it back home. And while I 86 00:06:24.959 --> 00:06:28.000 was there, I had a call from my mother actually, 87 00:06:28.040 --> 00:06:32.720 who said that one of her great lifelong friends has 88 00:06:32.759 --> 00:06:35.800 been working at a film studio in Sydney and they 89 00:06:35.839 --> 00:06:39.360 had a sound room, as she called it, and she 90 00:06:39.680 --> 00:06:42.480 went ahead and signed me up for two weeks work experience, 91 00:06:42.519 --> 00:06:44.879 which is like an internship over here in the States 92 00:06:45.279 --> 00:06:48.199 without my knowing, and then I had to pack my 93 00:06:48.279 --> 00:06:50.240 stuff for a couple of weeks and went down to Sydney, 94 00:06:50.240 --> 00:06:53.519 and when I showed up, I realized it was well, 95 00:06:53.560 --> 00:06:58.240 it actually was the premiere film mixing facility in the country. 96 00:06:58.879 --> 00:07:03.079 I walked into a ninety six faded net DFC console 97 00:07:03.120 --> 00:07:05.399 in front of me, and hearing about the catalog of 98 00:07:05.439 --> 00:07:09.120 films the guys had recently worked on completed, I was 99 00:07:09.160 --> 00:07:11.720 pretty blown away. I spent a couple of weeks there 100 00:07:11.800 --> 00:07:15.680 learning a lot from the guys in a new perspective, 101 00:07:15.759 --> 00:07:18.160 to use a lot of the same fundamentals that we 102 00:07:18.199 --> 00:07:23.759 have in the music realm, and it really just took 103 00:07:23.759 --> 00:07:26.279 me away. So I went all in on that, packed 104 00:07:26.319 --> 00:07:29.720 up my stuff, moved down to Sydney, and yeah, just 105 00:07:29.800 --> 00:07:30.600 continued at it. 106 00:07:31.240 --> 00:07:33.600 Wow, what year was that? 107 00:07:33.600 --> 00:07:36.480 That was the end of twenty ten. 108 00:07:37.439 --> 00:07:39.920 So by that time Sydney was already kind of a 109 00:07:39.959 --> 00:07:43.399 hotbed of production and post production work, I imagine. 110 00:07:43.519 --> 00:07:46.480 Oh absolutely, and for a lot longer before that as well. 111 00:07:47.600 --> 00:07:50.519 The film that they had more recently completed before I 112 00:07:50.560 --> 00:07:55.879 got there was Basloman's Australia, for which they put a 113 00:07:55.920 --> 00:08:01.560 lot of investment into the facility, and Peter Weir was 114 00:08:01.759 --> 00:08:04.279 recently there also for The Way Back at the time 115 00:08:04.759 --> 00:08:07.959 of which it turns out flash forward to now and 116 00:08:08.199 --> 00:08:10.639 one of the mixes on that project is another mixing 117 00:08:10.680 --> 00:08:11.720 partner of mine in Town. 118 00:08:11.759 --> 00:08:12.000 He is. 119 00:08:12.759 --> 00:08:15.959 It's an interesting roundabout kind of way into it. 120 00:08:15.959 --> 00:08:17.319 It's cool have. 121 00:08:17.360 --> 00:08:19.920 You guys ever worked on a project together before this one? 122 00:08:20.040 --> 00:08:24.560 Or oh yeah, yeah, yeah, Duncan, how many projects? Like 123 00:08:24.600 --> 00:08:27.439 when you first moved here? What project was that when 124 00:08:27.439 --> 00:08:29.360 you first moved here that you were you were teching 125 00:08:29.399 --> 00:08:30.920 on something? 126 00:08:31.560 --> 00:08:33.759 Yeah, it was Mad Max's Fury Road. 127 00:08:34.679 --> 00:08:37.480 Yeah, but I wasn't on that. I wish I was 128 00:08:37.799 --> 00:08:40.600 been fun as hell, But I think we did. Do 129 00:08:40.720 --> 00:08:42.000 we do Death Note together? 130 00:08:42.600 --> 00:08:44.600 Or was it. 131 00:08:45.879 --> 00:08:50.240 Maybe we've done a couple of projects together. Duncan's always 132 00:08:50.480 --> 00:08:54.759 has the best behavior on the stage. He knows exactly 133 00:08:54.759 --> 00:08:59.080 how to have the room feel. It's brilliant. He's like 134 00:08:59.120 --> 00:09:02.879 the matre d. He's a great mixer, but he's also 135 00:09:02.879 --> 00:09:05.240 a great guy. I try to work with dunk In 136 00:09:05.320 --> 00:09:10.120 as much as I can, and yeah, with a shorthand 137 00:09:10.159 --> 00:09:13.000 at this point, I'd say he's mixed a couple of 138 00:09:13.080 --> 00:09:17.039 projects for me, and yeah, and I've cut sound effects 139 00:09:17.080 --> 00:09:20.519 on some shows that I wasn't even supervising that then mixed. 140 00:09:20.639 --> 00:09:23.600 So there's been a lot of going back and forth. 141 00:09:24.200 --> 00:09:26.879 Yeah, when did they bring you guys into a project? 142 00:09:27.519 --> 00:09:30.120 Are you right there at the inception kind of planning 143 00:09:30.159 --> 00:09:30.960 things out or. 144 00:09:31.720 --> 00:09:35.120 It depends, like on this specific on they will kill you. 145 00:09:35.240 --> 00:09:38.039 I was brought in at the script phase before they 146 00:09:38.039 --> 00:09:41.120 even shot the movie. Basically they wanted to figure out 147 00:09:41.159 --> 00:09:43.480 who was going to do the sound at the end 148 00:09:44.080 --> 00:09:47.279 and during production and stuff like that. I could help 149 00:09:47.320 --> 00:09:49.720 with some of the some of the stuff they needed 150 00:09:49.720 --> 00:09:52.720 to do, or I had my own notes about the script, 151 00:09:52.799 --> 00:09:56.840 so I shared those with Carol and yeah, so that 152 00:09:56.960 --> 00:09:59.480 was cool coming in that early. I've been on movies 153 00:09:59.480 --> 00:10:02.519 where it's like, you come on, hey, we need you 154 00:10:02.559 --> 00:10:07.679 to fix this thing, right, so you're coming in towards 155 00:10:07.720 --> 00:10:11.159 the end, and I've had stuff where it's everything's in 156 00:10:11.159 --> 00:10:14.039 the can, we're starting picture editorial right now, and now 157 00:10:14.039 --> 00:10:17.679 we're going to start to look for somebody to work sound. 158 00:10:18.480 --> 00:10:22.639 So it depends on the different productions. 159 00:10:23.399 --> 00:10:25.320 What are some of those notes that you had or 160 00:10:25.519 --> 00:10:27.039 the early parts of the production. 161 00:10:27.919 --> 00:10:31.480 When I read a script, I'll read a script with 162 00:10:32.320 --> 00:10:37.360 a note pad up and I'll just type down things 163 00:10:38.080 --> 00:10:40.279 as I read, just things that occur to me as 164 00:10:40.279 --> 00:10:41.159 I read them. 165 00:10:41.480 --> 00:10:43.799 A good lesson I learned from Jeff when he's working 166 00:10:43.840 --> 00:10:48.879 through this phase initially on is be honest. Describe your emotion, 167 00:10:49.000 --> 00:10:51.639 how you're feeling, and how you could either enhance that 168 00:10:51.720 --> 00:10:54.639 and take it further in that direction. If that is 169 00:10:54.799 --> 00:10:59.720 the intent of the filmmakers, or even just describing that, 170 00:10:59.720 --> 00:11:03.120 that how you reacted. If that isn't the intent, how 171 00:11:03.279 --> 00:11:06.519 you able to steer things in a way that the 172 00:11:06.600 --> 00:11:09.759 audience can feel what is really intended. And that's a 173 00:11:09.799 --> 00:11:11.080 strong strength of Jeff. 174 00:11:11.799 --> 00:11:14.360 So one of the big notes I had on this movie, 175 00:11:14.679 --> 00:11:18.960 these characters reincarnate or they resurrect, right, So as I 176 00:11:18.960 --> 00:11:20.279 was reading the script, I was like, it'd be cool 177 00:11:20.279 --> 00:11:23.639 if they did this agonal breathing, Like when people die, 178 00:11:24.000 --> 00:11:27.799 they do this agonal breathing in their death phase, right, 179 00:11:28.000 --> 00:11:29.519 So I thought, oh, that wouldn't it be cool if 180 00:11:29.519 --> 00:11:32.480 they did the agonal breathing in reverse back out? And 181 00:11:33.039 --> 00:11:35.480 that was one of the notes. And not to toot 182 00:11:35.480 --> 00:11:37.720 my own horn, but they shot them gasping for air 183 00:11:37.720 --> 00:11:41.720 when they resurrected. It became like a sequence, a beat 184 00:11:41.879 --> 00:11:44.720 for the character, for the characters as they now they're 185 00:11:44.759 --> 00:11:46.960 gasping for air they when they come back, which kind 186 00:11:46.960 --> 00:11:50.720 of adds a little bit of realism to this thing 187 00:11:50.759 --> 00:11:54.000 that's just totally not real. Like these notes, I'd literally 188 00:11:54.039 --> 00:11:55.799 write at the top, I'm writing this off to finish 189 00:11:55.879 --> 00:11:58.200 the script, very interesting. I took these notes as I 190 00:11:58.240 --> 00:12:01.840 read the script. They'll be miss spellings, and because I'm 191 00:12:01.840 --> 00:12:04.080 just like reading and writing and reading and writing as 192 00:12:04.120 --> 00:12:06.240 I go through, and I find it to be really important. 193 00:12:06.240 --> 00:12:07.960 It's almost like the first time you watch a movie 194 00:12:08.399 --> 00:12:11.399 is so important. I try to zen out as sometimes 195 00:12:11.440 --> 00:12:15.200 where I like release everything to try to watch a 196 00:12:15.240 --> 00:12:18.159 movie again for the first time, which is hard to do, 197 00:12:18.279 --> 00:12:23.039 but I think it's really important to be open, to 198 00:12:24.240 --> 00:12:26.720 be receptive to changes and things like that. 199 00:12:27.559 --> 00:12:30.399 Sometimes I think about editing and just how they call 200 00:12:30.440 --> 00:12:34.200 it the invisible art. Is it more? I want people 201 00:12:34.200 --> 00:12:36.960 to know that there are good sounds going on here, 202 00:12:36.960 --> 00:12:39.840 but I also don't want to bring attention to it. 203 00:12:39.840 --> 00:12:40.759 It depends. 204 00:12:41.440 --> 00:12:43.519 Sometimes you want sounds that are going to be feel 205 00:12:43.600 --> 00:12:47.639 so realistic and so perfect that when people watch they 206 00:12:47.679 --> 00:12:50.519 don't think about it. And then other times you want 207 00:12:50.559 --> 00:12:53.759 to have something that can happen abruptly or change or 208 00:12:54.039 --> 00:12:56.240 shift where it shocks them in a certain way that 209 00:12:56.320 --> 00:13:00.360 might be good or maybe make them just question, what's 210 00:13:00.440 --> 00:13:03.639 that When the first knife in the first fight scene, 211 00:13:04.000 --> 00:13:07.759 when your heavy breathing guy like throws that knife and 212 00:13:07.799 --> 00:13:12.440 we do that this like anime sound on the knife 213 00:13:13.039 --> 00:13:15.639 flying through, it's like that's just going to stick out, 214 00:13:15.679 --> 00:13:18.600 like you're either going to that or not, but you're 215 00:13:18.600 --> 00:13:20.200 gonna be in the moment and you're gonna be like. 216 00:13:20.159 --> 00:13:21.600 What's going on. 217 00:13:22.360 --> 00:13:24.559 That's not something that's just going to land in there, 218 00:13:25.399 --> 00:13:27.759 Like things like I feel like that first fight scene 219 00:13:27.799 --> 00:13:30.720 does feel very natural, Like it feels like it would 220 00:13:30.720 --> 00:13:33.720 be like that's how it would be if you're in 221 00:13:33.759 --> 00:13:39.720 that space and witnessing that happen. So yeah, you just 222 00:13:40.480 --> 00:13:41.600 really it depends. 223 00:13:42.000 --> 00:13:45.000 There's a lot of choices that we make as we're mixing, 224 00:13:45.120 --> 00:13:49.679 is where how much do you want to lead the 225 00:13:49.720 --> 00:13:53.399 audience into either feeling a certain thing or catching any 226 00:13:53.480 --> 00:13:57.759 case story points where sometimes the idea behind it is 227 00:13:57.799 --> 00:14:01.080 that upon a second viewing, you're going to catch these 228 00:14:01.120 --> 00:14:05.679 things earlier on the character sound of something specific. But 229 00:14:05.879 --> 00:14:09.600 for example, in our film, they will kill You. An 230 00:14:09.639 --> 00:14:13.519 early example of that is as Asia is led into 231 00:14:13.639 --> 00:14:16.960 her room for the first time and she's wheeling her 232 00:14:16.960 --> 00:14:21.480 suitcase in and bounces across the rug on the floor, 233 00:14:21.879 --> 00:14:25.480 and we have a different textural hollowness at a certain 234 00:14:25.519 --> 00:14:29.960 point as the wheel bounces, which is obvious when you 235 00:14:30.000 --> 00:14:31.960 have seen the film and you're watching it a second 236 00:14:31.960 --> 00:14:35.960 time through, but not necessarily too much that at the 237 00:14:36.039 --> 00:14:40.000 beginning you're completely thrown. It's enough taste in there and 238 00:14:40.039 --> 00:14:43.679 texture to say this is a story point, but more 239 00:14:43.720 --> 00:14:44.360 to come later. 240 00:14:45.279 --> 00:14:48.360 There are so many scenes where the sound just amplifies 241 00:14:48.399 --> 00:14:51.639 everything so well, especially when it comes to like the 242 00:14:51.679 --> 00:14:55.240 sounds of the knives and just the clanging of those 243 00:14:55.480 --> 00:14:58.960 that first big battle that they have in the hotel room. 244 00:14:59.679 --> 00:15:02.080 The way that the camera's moving all around Jeff, you 245 00:15:02.080 --> 00:15:05.080 mentioned anime, and it just feels like we're we've moved 246 00:15:05.120 --> 00:15:08.159 almost into a different world, and everything is just so 247 00:15:08.440 --> 00:15:09.759 heightened with that scene. 248 00:15:10.639 --> 00:15:12.240 One of the things I wanted to do with the 249 00:15:12.279 --> 00:15:15.159 film was like pay homage to some of the whole 250 00:15:15.399 --> 00:15:20.200 styles of kung fu movies or anime. This is all 251 00:15:20.279 --> 00:15:24.799 like being fed with Carill right, It's like he loves 252 00:15:24.799 --> 00:15:27.919 that too, he wants that too. And then I thought 253 00:15:27.960 --> 00:15:30.720 about things like, Okay, what if every scene has its 254 00:15:30.759 --> 00:15:35.279 own feel, for like how the fights actually feel like 255 00:15:35.399 --> 00:15:38.639 that first fight feels so realistic, and then the fire 256 00:15:38.679 --> 00:15:43.840 acccene is a bit surreal, and and then like the 257 00:15:43.960 --> 00:15:47.279 in the final fight, like I wanted to like shift gears, 258 00:15:47.320 --> 00:15:49.919 like in the middle of the fight. Wanted to keep 259 00:15:49.960 --> 00:15:53.159 things dynamic in a way that had these like really 260 00:15:53.240 --> 00:15:58.200 sudden jarring shifts in the sequences, which I think I 261 00:15:58.200 --> 00:15:59.519 think we were able to achieve that. 262 00:16:00.799 --> 00:16:04.200 Jeff, you mentioned coming in pretty early and giving these 263 00:16:04.200 --> 00:16:08.120 thoughts very early on. They're obviously they're not recording a 264 00:16:08.159 --> 00:16:10.519 lot of these sounds on the stage, right. You just 265 00:16:10.559 --> 00:16:12.679 have to build this up completely on your own. 266 00:16:13.679 --> 00:16:17.120 So I did record all the swords here at my studio, 267 00:16:17.279 --> 00:16:20.679 and I also have a I have a four track 268 00:16:20.960 --> 00:16:23.519 task on deck that I ran a ton of sounds 269 00:16:23.519 --> 00:16:24.919 through and I made. I did a lot of like 270 00:16:24.960 --> 00:16:29.120 synthetic wooshes. I built, made synthesized a lot of synthetic 271 00:16:29.159 --> 00:16:31.720 wooshes and stuff like that. Then I just ran them 272 00:16:31.720 --> 00:16:34.960 through tape like crappy tape too, not the good not 273 00:16:35.000 --> 00:16:37.720 the good stuff, like this is all the bad stuff, 274 00:16:38.240 --> 00:16:41.919 and it gives it a flavor. It's really interesting to 275 00:16:41.960 --> 00:16:46.000 work with that kind of stuff. But anyways, Carell gave 276 00:16:46.039 --> 00:16:48.480 me a Samurai sword that he had, and he gave 277 00:16:48.519 --> 00:16:52.639 me the machete, the main machete in the movie. He said, 278 00:16:52.639 --> 00:16:54.759 be careful with this because it's actually really sharp. This 279 00:16:54.879 --> 00:16:57.759 is not the They're not swinging this around at anybody. 280 00:16:57.759 --> 00:16:59.399 This is like when we're doing a close up of 281 00:16:59.480 --> 00:17:01.879 the miss this is what we're looking at. It's like 282 00:17:02.000 --> 00:17:06.359 really sharp razor sharp machete and the final scene is 283 00:17:06.359 --> 00:17:10.039 a butcher knife and or cleaver and then the machete. 284 00:17:10.079 --> 00:17:12.920 So I had the cleaver and the machete in my 285 00:17:13.000 --> 00:17:16.359 studio and I'm just beating the machete with my cleaver, 286 00:17:17.319 --> 00:17:19.880 and by the time I was done with this, the 287 00:17:20.400 --> 00:17:24.039 cleaver was just like warped and bent and chipped, and 288 00:17:24.119 --> 00:17:26.519 just I was like, oh my god, we're going to 289 00:17:26.559 --> 00:17:30.119 throw this away and look at the sword and it's like, not, 290 00:17:30.319 --> 00:17:33.920 there's no damage at all to this thing. It's like 291 00:17:34.039 --> 00:17:36.880 some special steal. Like I'm like, this is like a 292 00:17:37.000 --> 00:17:41.440 legitimate sword. This is like something you'd actually want to 293 00:17:41.480 --> 00:17:42.599 have in a zombie. 294 00:17:42.319 --> 00:17:43.160 Invasion or something. 295 00:17:43.400 --> 00:17:44.960 Was it a hand? 296 00:17:45.039 --> 00:17:54.079 Great, he makes a machete the only one that'd be 297 00:17:54.119 --> 00:17:58.319 a good movie, right, everybody else is fighting with the katanas, 298 00:17:58.319 --> 00:18:00.480 and then you got somebody with the machete. 299 00:18:00.680 --> 00:18:03.039 And duncan when do you get brought onto the project? 300 00:18:03.039 --> 00:18:03.920 Also at the beginning. 301 00:18:04.359 --> 00:18:08.839 Typically my role is historically at the end of the 302 00:18:08.880 --> 00:18:12.960 filmmaking process as a re recording mixer, but the best 303 00:18:12.960 --> 00:18:17.279 possible results always come from early collaboration where bringing somebody 304 00:18:17.319 --> 00:18:20.680 on at the end in a position like nine, we 305 00:18:20.799 --> 00:18:25.599 have the ability to completely destroy any of the ideas 306 00:18:25.599 --> 00:18:29.839 that have been laid before us, or enhance them and 307 00:18:29.920 --> 00:18:34.240 add flavor and add to the storytelling process. It's always 308 00:18:34.319 --> 00:18:37.960 better if even during or around the time of the 309 00:18:38.000 --> 00:18:43.000 first spotting sessions, understanding the direction of the filmmakers, adding 310 00:18:43.039 --> 00:18:45.119 in any of the ideas that we might have because 311 00:18:45.119 --> 00:18:49.319 we are all collaborators in this and just being an 312 00:18:49.400 --> 00:18:52.880 ear to bounce ideas off of from Jeff and his 313 00:18:53.000 --> 00:18:58.079 team and being as involved earlier on as possible has 314 00:18:58.160 --> 00:18:59.880 always proven to be the best results. 315 00:19:00.319 --> 00:19:04.079 We do temp mixes for as the process the filmmaking process, 316 00:19:04.480 --> 00:19:07.799 as the sausage is being made, there's these tempts and 317 00:19:07.839 --> 00:19:10.880 then testing in tents and then testing and there are 318 00:19:11.319 --> 00:19:14.400 places there to try out ideas, and I think it's 319 00:19:14.519 --> 00:19:17.279 important to I don't think you were on every TEMP, 320 00:19:17.359 --> 00:19:19.680 but I definitely was trying to make an effort to 321 00:19:19.839 --> 00:19:23.640 have Duncan beyond as many tempts as possible to make 322 00:19:23.680 --> 00:19:26.400 sure that his imprint is on all of it. 323 00:19:26.880 --> 00:19:29.960 Scheduling conflicts sometimes catch us out there at those times. 324 00:19:30.000 --> 00:19:34.359 But those those idea of building milestones or tentp mixes 325 00:19:34.400 --> 00:19:37.720 that we have are so important to try something, see 326 00:19:37.720 --> 00:19:40.640 if it worked, resonate with that for a while, and 327 00:19:40.640 --> 00:19:42.759 then come back later and say, ah, that wasn't the 328 00:19:42.839 --> 00:19:45.319 right idea or yes, and we can do more with it. 329 00:19:45.440 --> 00:19:48.640 Let's expand on it and go beyond what we thought 330 00:19:48.720 --> 00:19:50.960 we could of which we were able to do a 331 00:19:50.960 --> 00:19:53.160 bit of that in this film. 332 00:19:53.440 --> 00:19:56.559 What's going to be a little freeing to be in 333 00:19:56.640 --> 00:20:00.799 this more supernatural milieu and not have to be a 334 00:20:00.960 --> 00:20:03.119 slave to realism all the time, because I'm sure you 335 00:20:03.200 --> 00:20:05.960 guys have had to be like, oh no, this wouldn't 336 00:20:05.960 --> 00:20:08.519 sound like this in real life. I have to turn 337 00:20:08.640 --> 00:20:10.960 this back or whatever it is, and just really try 338 00:20:11.000 --> 00:20:14.440 to go for that even if it's not real, to 339 00:20:14.599 --> 00:20:17.240 give that illusion of realism. But with this, I'm sure 340 00:20:17.240 --> 00:20:19.359 you can go little nuts. 341 00:20:19.839 --> 00:20:22.160 It was it was like go nuts in this direction. 342 00:20:22.599 --> 00:20:25.960 And that's that is. I always see creativity as like 343 00:20:26.000 --> 00:20:28.759 a forest and like you, let's go back to the machete. 344 00:20:29.160 --> 00:20:30.200 You literally are hacked. 345 00:20:30.240 --> 00:20:32.640 You literally hack your way a mile in in one direction, 346 00:20:33.319 --> 00:20:35.559 and that is where you're at on that project, and 347 00:20:35.599 --> 00:20:38.680 like another project might be totally in another direction, but 348 00:20:39.680 --> 00:20:42.640 on this one, it was really cool to record all 349 00:20:42.680 --> 00:20:46.839 these swords have all these cool fight sounds, like like 350 00:20:47.240 --> 00:20:50.559 I know how anime sounds are made, but actually sitting 351 00:20:50.559 --> 00:20:54.119 down and going okay, so we do frequency modulation and 352 00:20:54.160 --> 00:20:56.279 we're gonna ramp things in this direction like this and 353 00:20:56.440 --> 00:20:58.799 actually have a whole chain set up so I can 354 00:20:58.880 --> 00:21:01.359 like throw any sound in there, like me make these 355 00:21:02.119 --> 00:21:03.359 anime sounds out of it. 356 00:21:04.200 --> 00:21:05.279 Yeah, that's super. 357 00:21:05.039 --> 00:21:08.559 Fun, right, recording stuff onto the tape deck, and then 358 00:21:08.599 --> 00:21:12.319 the tape deck's got this weird pitch thing, so there's 359 00:21:12.400 --> 00:21:15.119 like a like towards the end of the sword fight 360 00:21:15.759 --> 00:21:19.039 with the pig, like the clashes, I just was like 361 00:21:19.279 --> 00:21:22.119 whipping them up and down in pitch and stuff. And 362 00:21:22.160 --> 00:21:26.240 when I layered these all together, so liquid chings. That's 363 00:21:26.279 --> 00:21:28.319 all the way I can describe it. It's just crazy. 364 00:21:28.920 --> 00:21:31.680 It's just fun to find those things you know that 365 00:21:32.200 --> 00:21:34.400 you were not like I'm actively going to go for 366 00:21:34.480 --> 00:21:36.799 this one thing. You know what you're doing, but you're 367 00:21:36.839 --> 00:21:40.640 not like, Okay, I'm gonna find this weird all these 368 00:21:40.799 --> 00:21:43.440 different shings that are the same recording then pitched in 369 00:21:43.480 --> 00:21:45.079 weird ways and then played on top. 370 00:21:44.880 --> 00:21:45.359 Of each other. 371 00:21:46.559 --> 00:21:50.240 Oh, that kind of evolved from doing it. 372 00:21:50.920 --> 00:21:53.559 What's notice that you even have the room to experiment. 373 00:21:54.079 --> 00:21:56.880 It's not just I want this, Just give me that 374 00:21:57.839 --> 00:22:00.000 screw off. I don't need any brilliant ideas. 375 00:22:02.000 --> 00:22:05.480 Nobody ever does that. Everybody I've worked with is let 376 00:22:05.519 --> 00:22:06.480 me do whatever I want. 377 00:22:07.759 --> 00:22:13.960 Jeff has an amazing contagious trait of pushing ourselves to 378 00:22:14.000 --> 00:22:18.319 get the most creative and unique ideas executed as possible 379 00:22:18.400 --> 00:22:21.640 as well. And that's a brilliant trait to having the 380 00:22:21.720 --> 00:22:24.839 room with you at all times. So it encourages a 381 00:22:24.880 --> 00:22:26.960 lot of fun and a lot of laughs when we 382 00:22:27.000 --> 00:22:29.160 do things, and when we execute something for the first 383 00:22:29.200 --> 00:22:31.079 time and we stop and we look around the room 384 00:22:31.119 --> 00:22:34.039 and everyone's cracking up laughing. That may be the right 385 00:22:34.039 --> 00:22:37.880 thing for that moment. Sometimes that kind of reaction is 386 00:22:38.319 --> 00:22:41.759 the wrong direction. But we have a really good time. 387 00:22:41.799 --> 00:22:44.960 We are just pushing these boundaries of hyperrealism at times. 388 00:22:45.960 --> 00:22:47.599 You have to be bold with some of this stuff. 389 00:22:47.640 --> 00:22:54.319 In the pig fight, when the pig charges Asia, it 390 00:22:54.440 --> 00:22:56.599 happened on this main on the stage of the final 391 00:22:56.759 --> 00:22:59.000 It wasn't even something that was before that. But I 392 00:22:59.079 --> 00:23:01.599 was like, what if, like we rate when we go 393 00:23:01.640 --> 00:23:04.640 into what should be the biggest sound moment, right because 394 00:23:04.680 --> 00:23:08.720 he charges in its huge and then he's king all this. 395 00:23:09.039 --> 00:23:10.640 I said, what if we take it on and make 396 00:23:10.680 --> 00:23:13.759 it mono and then make it really thin sounding and 397 00:23:13.799 --> 00:23:17.440 like for just it's three or four hits before and 398 00:23:17.519 --> 00:23:20.359 then three or four hits where it just felt like 399 00:23:20.440 --> 00:23:23.759 old school kung fu, like just very old school mono, 400 00:23:24.759 --> 00:23:27.359 and then he kicks her and then it goes back 401 00:23:27.400 --> 00:23:30.000