The BBC “Dancing Shadows” Sound Design Series

The SoundWorks Collection Interview Series podcast takes you behind the scenes and straight to the dub stage for a look into audio post-production for feature films, video game sound design, and original soundtrack composition. This exclusive and intimate series focuses on individuals and teams behind-the-scenes bringing to life some of the worlds most exciting projects.

SoundWorks Collection Interview Series

We chat with Composer Jermaine Stegall about the music of Coming 2 America directed by Craig Brewer and now streaming on Amazon Prime Video.

Set in the lush and royal country of Zamunda, newly-crowned King Akeem (Eddie Murphy) and his trusted confidante Semmi (Arsenio Hall) embark on an all-new hilarious adventure that has them traversing the globe from their great African nation to the borough of Queens, New York - where it all began.

Composer Jermaine Stegall - The Music of Coming 2 America

In the exclusive conversation we chat with sound designer and sound supervisor Mark Mangini about the new Pro Sound Effects, Odyssey Creatures library.

Sonify the beasts and critters of your wildest dreams with The Odyssey Collection: Creatures. Add life and energy to any project with characterful animal recordings ranging from rare and exotic to common and domesticated – plus designed beasts and mythical beings.

Create realistic scenes and otherworldly soundscapes with animal sounds from around the globe, including leopard growls, lion roars, horse whinnies, rhinoceros bellows, bird calls, monkey vocals, dog barks, insect swarms and more. This library features thorough coverage of more common creatures like birds, dogs, horses and insects – as well as many obscure animals.

Developed in exclusive collaboration with Academy Award®-winners Mark Mangini & Richard L. Anderson, Odyssey Creatures delivers a huge variety of natural, high-quality, one-of-a-kind animal recordings and masterfully designed creature sounds – so you can stay creative and deliver your best sound.

www.prosoundeffects.com/odyssey


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Mark Mangini and Pro Sound Effects Odyssey Creatures Library

In this conversation we talk with Re-recording Mixers Jon Taylor and Frank A. Montaño about their longtime collaboration with Director Justin Lin and their explosive and dynamic sound mix on F9: The Fast Saga.

Dom Toretto is living the quiet life off the grid with Letty and his son, but they know that danger always lurks just over the peaceful horizon. This time, that threat forces Dom to confront the sins of his past to save those he loves most. His crew soon comes together to stop a world-shattering plot by the most skilled assassin and high-performance driver they've ever encountered -- Dom's forsaken brother.

The Sound of F9: The Fast Saga

In the exclusive conversation we talk with the creative team behind Zenimation on Disney+ including creator and editor David Bess, Executive Producer Amy Astley, Re-recording Mixer David Fluhr and Supervising Sound Editor and Sound Designer Shannon Mills.

Unplug, relax, and refresh your senses for a moment of mindfulness with Walt Disney Animation Studios’ “Zenimation” – an animated soundscape experience. Whether it’s baby Moana being called by the ocean, Anna and Kristoff walking through an icy forest, or Baymax and Hiro Hamada flying over San Fransokyo, these iconic scenes become an aural experience like no other with the sounds of ocean waves, an icy forest and soaring flight. “Zenimation” pays tribute to both the visual and sound artists who have created Walt Disney Animation Studios’ legacy of films.

The Sound of Zenimation on Disney+

We chat with Director R. J. Cutler and Emmy-nominated Music Director Aron Forbes who was nominated for Outstanding Music Direction and Outstanding Sound Mixing for a non-fiction or reality programming about their recent collaboration on Billie Eilish: The World's A Little Blurry now streaming on AppleTV+.

"Billie Eilish: The World’s A Little Blurry” tells the true coming-of-age story of the singer-songwriter and her rise to global superstardom. From award-winning filmmaker R.J. Cutler, the documentary offers a deeply intimate look at this extraordinary teenager’s journey, at just seventeen years old, navigating life on the road, on stage, and at home with her family, while writing, recording and releasing her debut album “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?”

The documentary is from Apple Original Films, in association with Interscope Films, The Darkroom, This Machine and Lighthouse Management & Media. Directed by R.J. Cutler and starring Billie Eilish, Finneas O’Connell, Maggie Baird, and Patrick O’Connell as themselves.

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Billie Eilish: The World's A Little Blurry w/Director R. J. Cutler and Music Director Aron Forbes

In our conversation we chat with Director Jeff Orlowski about his Emmy nominated documentary, The Social Dilemma now streaming on Netflix. We also feature Supervising Sound Editor & Sound Designer Richard Gould, Foley Artist Andrea Gard and Composer & Production Sound recordist Mark Crawford.

The Social Dilemma premiered at the 2020 Sundance Film Festival on January 26, 2020, and was released on Netflix on September 9, 2020. The documentary went on to be viewed in 38,000,000 homes within the first 28 days of release. It received 7 nominations for the 73rd Annual Emmy Awards in 2021.

We tweet, we like, and we share— but what are the consequences of our growing dependence on social media? As digital platforms increasingly become a lifeline to stay connected, Silicon Valley insiders reveal how social media is reprogramming civilization by exposing what’s hiding on the other side of your screen.

The Sound and Music of The Social Dilemma

In this exclusive conversation we chat with Director Neill Blomkamp about his new horror film, Demonic which is being released by IFC Midnight. We also feature his sound team including Vince Renaud (Sound Supervisor, Dialogue Editor, Re-recording Mixer) Jo Rossi (Sound Supervisor, Sound Designer, Re-recording Mixer, Sound Effects Editor) Nolan McNaughton (Sound Designer, Sound Effects Editor) and Maureen Murphy (Foley Artist).

From the director of DISTRICT 9 and ELYSIUM, a young woman unleashes terrifying demons when supernatural forces at the root of a decades old rift between mother and daughter are revealed.

MORE INFORMATION:
https://www.ifcfilms.com/films/demonic

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The Sound of Demonic with Director Neill Blomkamp

Visionary director Denis Villeneuve discusses the creative benefits of early collaboration with his sound team, the process of crafting Dune's unique soundscapes including: Arrakis desert, sandworm, ornithopter, spice (melange) and the voice of the Bene Gesserit.

Featuring Supervising Sound Editor & Sound Designer Mark Mangini, Supervising Sound Editor & Sound Designer Theo Green and Re-recording Mixer Ron Bartlett.

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The Sound of DUNE with Director Denis Villeneuve and Sound Team

Richard Hymns & Frank Warner - The BBC “Dancing Shadows” Sound Design Series

Skip Lievsay & Ann Kroeber - The BBC “Dancing Shadows” Sound Design Series

Ioan Allen & Cecelia Hall - The BBC “Dancing Shadows” Sound Design Series

This week we talk with Audio Director/Sound Designer Ben Minto who leads the sound team at the Stockholm based EA DICE studio.

Ben has worked on such game titles as BLACK, Burnout, Battlefield (1943, Heroes, Bad Company), Mirror’s Edge, Medal of Honor, and the upcoming Star Wars Battlefront project.

Ben Minto - Audio Director/Sound Designer at DICE Studios

This week we talk with Composer Hans Zimmer about his recent collaboration with Director Christopher Nolan for his film, Interstellar. In this exclusive interview Hans describes using the pipe organ from Temple Church in London, collaborating with Director Christopher Nolan and Sound Supervisor Richard King, and their creative approach for the film sound mix.

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Composer Hans Zimmer - Interstellar

This week we spoke with Finishing Move Inc. who is Brian Trifon and Brian Lee White, two friends and collaborators who recently worked on some incredible video game music projects including Halo: Master Chief Collection for Microsoft, Massive Chalice for Double Fine games, Borderlands 1 and 2, and the Assassin Creed series.

We talk about the incredible success they have had since forming their company just over two years ago and how they continue to navigate the task of managing large budget video game scores and forming their own opinions and choices about their musical compositions. I hope you enjoy!

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Finishing Move Inc.

This panel, led by veteran composers and audio professionals, will present an inspiring discussion about how women cultivate careers in game audio and about the diverse voices women can bring to games.

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Corina Bello  - Associate Sound Designer, High Moon Studios   
Penka Kouneva - Lead Composer, Kouneva Studios   
Laura Karpman - Lead Composer, Laura Karpman Music   
Paul Lipson - Senior Audio Director, Microsoft Studios   
Benedicte Ouimet - Music Supervisor, Ubisoft Montreal   
Belinda Van Sickle - President, Women in Games International   

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The panel will address a core question: is there any difference between the way a man and a woman composes music? What are the pros and cons of versatility (writing powerful music in many conventional idioms) versus having a unique, distinctive voice? Why is it important for women in the game industry to support each other? How can men help? How can women and men balance issues of work and family? How can women convince decision makers to trust them with big budgets and high stakes?

We will examine the challenges of cultivating a career, the required skill sets, and the success stories, along with the political and business savvy needed for a progressive career path. The panelists will also discuss patterns of cultivating careers as a game composer, what has worked for women in other creative tracks (development, design and programming), opportunities for professional growth, navigating the minefields on a high-stakes job, overcoming career stagnation, and branding/re-branding.

Music credits:
Laura Karpman – Kinect Disneyland Adventure and EverQuest    
Penka Kouneva – Airforce against Megatron (Transformers Revenge of the Fallen) and Between Eden (A Warrior's Odyssey)   

Women in Audio Panel - GDC 2015

Over 14 years crafting the distinctive Audio Brand at one of the most respected stations in commercial radio –former KFOG/KSAN San Francisco Creative Director Jeff Schmidt is currently performing Creative Services/Audio Branding for Entercom San Francisco Radio stations KGMZ 95.7 The Game & 98.5 KUFX.

Jeff is also proprietor of Jeff Schmidt Productions & Alien Imaging Sound Design where his original Sound Design elements are in use at hundreds of Radio Stations and Production Houses all over the world.

Branching out into Audio Branding/Sound Design & Music for Visual Media and Video Games  – Jeff’s Exciting Audio work is in use by innovative Entertainment Organizations such as Blizzard Entertainment (World of Wardcraft, Diablo III), Sony Computer Entertainment of America (InFamous 2), Harmonix (Rock Band Network), Ubisoft (Tom Clancey Ghost Recon: Future Soldier) and Microsoft Game Studios (Halo CE 20th Ann Edition).

Jeff Schmidt - Creative Services & Sound Design Branding for Entercom Radio

In this exclusive interview we talk with Composer Duncan Thum about his role providing a sonic landscape for the second season of Netflix's Chef's Table. Chef's Table goes inside the lives and kitchens of six of the world's most renowned international chefs. Each episode focuses on a single chef and their unique look at their lives, talents and passion from their piece of culinary heaven.

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Composer Duncan Thum - Chef's Table

Radiolab is one of the most distinctive sounding shows in the radio and podcast world. In this episode, creator and co-host of the show Jad Abumrad talks about how he uses music as a metaphor to explore abstract topics like what a manta shrimp sees when it looks at a rainbow, why it’s important to drop into the story mid-stream, why he deliberately disrespects the boundary between sound effects and music, and how he aspires to tell complex stories without words.

Jad Abumrad: The Sound of Radiolab

This week we chat with the sound team behind Netflix’s hit show Stranger Things Directed by the Duffer Brothers. Joining us are re-recording mixer Adam Jenkins, re-recording mixer Joe Barnett, Sound Designer Craig Henighan and Supervising Sound Editor Brad North.

This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com

SoundWorks Collection

The Sound of Stranger Things

Attention soldier! In this episode we talked with Lead Sound Designer Andres Almstrom and Audio Director Bence Pajor from EA Dice studios located in Stockholm, Sweden who recently finished work on Battlefield 1.

In Battlefield 1 the player will experience the origins of modern warfare where the old world was destroyed, giving way to the new one. The player will experience innovative, modern weaponry and vehicles of World War I as you battle across the land, air and sea.

This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. THX certifies the world’s best consumer electronics to provide users with the assurance of superior quality. Find out more at thx.com

The Sound of Battlefield 1

This week we talk with Composer Leslie Barber who recently worked on Director Kenneth Lonergan's new film, Manchester by the Sea starring Casey Affleck and Michelle Williams. Leslie previously worked with Lonergan on his acclaimed debut picture, You can Count on Me.

For ‘Manchester,’ Barber utilized harmonized vocal performances and atmospheric orchestral work to create a memorable score that makes an excellent companion to the classical pieces curated by the award-winning music supervisor Linda Cohen.

After the death of his older brother Joe, Lee Chandler (Casey Affleck) is shocked that Joe has made him sole guardian of his teenage nephew Patrick. Taking leave of his job as a janitor in Boston, Lee reluctantly returns to Manchester-by-the-Sea, the fishing village where his working-class family has lived for generations. There, he is forced to deal with a past that separated him from his wife, Randi (Michelle Williams), and the community where he was born and raised.

Composer Lesley Barber - Manchester by the Sea

This week we chat with Composer Jóhann Jóhannsson about his third film collaboration with Director Denis Villeneuve on the film Arrival.

Linguistics professor Louise Banks (Amy Adams) leads an elite team of investigators when gigantic spaceships touch down in 12 locations around the world. As nations teeter on the verge of global war, Banks and her crew must race against time to find a way to communicate with the extraterrestrial visitors. Hoping to unravel the mystery, she takes a chance that could threaten her life and quite possibly all of mankind.

This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. THX certifies the world’s best consumer electronics to provide users with the assurance of superior quality. Find out more at thx.com

Composer Johann Johannsson and the music of Arrival

This week we spoke with music producer Greg Fidelman who recently finished Metallics’s new album Hardwired...To Self-Destruct.

This is  Metallica's first studio album since 2008 and is not the first time Fidelman has worked with the band. Greg also worked as an engineer and mixer on Death Magnetic and was the co-producer, engineer and mixer on Lulu, the band’s collaboration with the late Lou Reed. He also oversaw the band’s live soundtrack to their first-ever feature film Through The Never. 

Greg has also worked with other bands such as Slayer, Black Sabbath, Red Hot Chili Peppers, Bush, Audioslave, Marilyn Manson, Slipknot, and System of a Down.

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Producer Greg Fidelman - Metallica's Hardwired…To Self Destruct

It should come as no surprise that a movie that explores the loneliness that Batman must feel in the bat-cave after leaving his adoring public behind — even one involving LEGOs — has a fairly dark orchestral score thanks to composer Lorne Balfe, who argues that The LEGO Batman Movie has just as much emotional depth as any live-action Dark Knight tale. Balfe, who was part of the musical department for The Dark Knight series of films, shared some of his thoughts on writing for this animated incarnation of the hero’s story.

Composer Lorne Balfe [TERMINATOR GENISYS, CHURCHILL, THE STORY OF GOD WITH MORGAN FREEMAN] is a Grammy Award-winning, EMMY and BAFTA nominated film composer from Inverness, Scotland. His filmography boasts an incredible breadth and depth of titles, ranging from major studio to independent films, tentpole video game franchises, beloved animated feature films, critically acclaimed television series, and documentary features.

The Music of The Lego Batman Movie with Composer Lorne Balfe

In this exclusive SoundWorks Collection podcast, we talk with the sound team behind Director Guillermo del Toro's latest film, The Shape of Water. Featuring re-recording mixers Christian Cooke and Brad Zoern, supervising sound editors Nelson Ferreira and Nathan Robitaille.

Elisa is a mute, isolated woman who works as a cleaning lady in a hidden, high-security government laboratory in 1962 Baltimore. Her life changes forever when she discovers the lab's classified secret -- a mysterious, scaled creature from South America that lives in a water tank. As Elisa develops a unique bond with her new friend, she soon learns that its fate and very survival lies in the hands of a hostile government agent and a marine biologist.

The Sound of The Shape of Water

In this episode, production sound mixer Mary Ellis talks about her very first day of the shoot—recording the sound on set during the continuous 5-minute shot set to “Harlem Shuffle,” and the challenges of mic’ing all those fast-moving cars. Sound supervisor/mixer Julian Slater talks about using tinitis to take the audience into the head of main character Baby. He and dialog mixer Tim Cavagin also discuss the unique challenges of mixing all the crafted sound design and dialog to blend with a driving music track. 

Oscar nominees: Tim Cavagin, Mary H. Ellis, Julian Slater

“We want the audience to understand within the first 60 seconds that sound is important to this film; it’s something to register.” Julian Slater

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The Sound of Baby Driver - Oscar Podcast

An award-winning executive, audio director and composer, Paul’s career has taken him all over the world and has helped him innovate and advocate as a leading figure in the interactive entertainment industry. As the creative leader of Formosa Interactive, he works as the Vice President of Creative Services - driving strategy, content development, and audio pipelines with the famed award winning team in Los Angeles, California.

Paul previously worked as Senior Audio Director at Microsoft Studios/343 Industries , and the Chief Operating Officer of Pyramind Studios before that. He has composed award-winning scores and managed extensive AAA audio pipelines for an array of leading clients like Microsoft Game Studios, SEGA, 343 Industries, Ubisoft, LucasArts, 2K Games, Sony Computer Entertainment, EA, Hewlitt-Packard, Harmonix, etc.. Recent AAA game credits include Halo: The Master Chief Collection, Halo: Online, Halo: Spartan Strike, Halo: Nightfall, Halo Channel, Sunset Overdrive, Forza Motorsport 5, Halo:Spartan Assault, Crimson Dragon, Project Spark, Halo Combat Evolved Anniversary, Kinect Disneyland Adventures, Galactic Reign, Crimson Dragon, Microsoft Flight, Infamous 2, Halo:Waypoint, 5th Cell’s Hybrid, Rocksmith, Bioshock 2, Iron Man 2, Lego Indiana Jones:The Adventure Continues, and many more. Paul and his team have been nominated for numerous awards, and recently won Best Original Instrumental at the 2015 GANG Awards, Best Original Soundtrack Album at the 2014 GANG Awards, the Best Interactive Score and Best Use of Licensed Music awards at the 2012 GANG Awards, and the Best Audio – Other Award at the 2011 GANG awards/GDC for work on the Halo Universe. Paul was also awarded the GANG Distinguished Service Award at the 2006 GANG Awards/GDC for his wide-ranging work in interactive audio.

Paul Lipson Keynote - "A Hand in the Sun"

Composer Ludwig Göransson and supervising sound editor Steve Boeddeker talk about the collaboration of sound design and score in BLACK PANTHER, the integration of African music into a traditional symphonic score, and how the sound design of futuristic Wakanda technology and weaponry is influenced by West African sounds (like a bird becoming the sound of a passing spaceship).

The Sound of Black Panther

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.

The Sound of Spider Man: Into the Spider-Verse

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.

The Sound of A Quiet Place - Erik Aadahl and Ethan Van der Ryn

We chat with Supervising Sound Editor, Sound Designer and Re-recording Mixer Damian Volpe to discuss his recent collaboration with visionary Director Robert Eggers and explore his new film, The Lighthouse. 

Shot in black-and-white, the film follows two lighthouse keepers (portrayed by Willem Dafoe and Robert Pattinson) as they are faced with solitude, but start to lose their sanity and become threatened by their worst nightmares.

Damian Volpe is a Brooklyn based sound designer, supervisor, and mixer. He is a founding member of Harbor Sound, and a working partner of ((Audience)), a non- profit group dedicated to presenting music and sound art in new contexts, including specifically the use of movie theaters as concert halls. He has had the good fortune to collaborate over several decades with an amazing cast of directors including Ira Sachs, Debra Granik, Robert Eggers, Dee Rees, Marielle Heller, Ted Melfi, Mira Nair, Peter Hedges, Jim Jarmusch, and Matthew Barney.

Damian’s work can be heard in a wide variety of feature films (The Lighthouse, Can You Ever Forgive Me?, Leave No Trace, St. Vincent, Mudbound, Drive, Winter’s Bone, Margin Call, Forty Shades of Blue, Happiness), documentaries (Billy the Kid, Trouble the Waters) and art pieces (Drawing Restraint 9, States of Unbelonging, Last Address). His work can also be heard at the award-winning Gear Platte River Road Archway Monument and at The George Washington Museum and Education Center in Mount Vernon.

His sonic interests include susurration, hypnogogia, tintinnabulation, buzz, bottomlessness, and decay.

The Sound of The Lighthouse with Damian Volpe

Join the team behind the sound and music of Stranger Things 3 for a discussion about how the sound of the show has evolved and grown over three seasons, delivering cinema quality sound on an episodic schedule and budget, how to preserve that experience across all home platforms, the challenges of keeping creature sounds fresh and new, and finally, how the famous Neverending Story sequence came together.

Craig Henighan - Sound Supervisor
Mark Patterson - Dx and Music Mixer
David Klotz - Music Editor
Angelo Palazzo - SFX Editor
Katie Halliday - SFX Editor

Moderated by Glenn Kiser, Director of the Dolby Institute

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The Sound of Stranger Things 3

As a large-scale historical film, 1917 creates an intense and realistic soundscape of World War I. In this episode, we talk with the sound team, nominated for Best Sound Editing and Best Sound Mixing, about the challenges and fun experiences that arose from this film. In part 1, we talk with ADR and dialogue supervisor Rachael Tate about blending the unique amount of sound coverage into the film, trying to work with minimum ADR, and making sure that even background chatter is historically realistic. In part 2, production sound mixer Stuart Wilson shares challenges with mic placements, the importance of on-set sound for creating realistic tension, and the trust and communication among the production.

The Sound of 1917 - Oscar Podcast 2020

Supervising sound editors Matthew Wood and David Acord delve into the conceptual and sonic intricacies of evolving “force lightning,” and about working in stages from temp mixes to the final mix in a film with a legacy. They share experiences working playfully and dynamically with director J.J. Abrams, recording lines in actor Adam Driver’s closet, and working on previous Star Wars films.

Star Wars: The Rise of Skywalker - Oscar Podcast 2020

We chat with Miles Rogers from Meyer Sound about a wide range of cinema focused speakers including the Bluehorn System, Amie Precision Studio Monitor, HMS Cinema Surround Loudspeakers and the VLFC (Very Low Frequency Control Element) recently used by Director Francis Ford Coppola for Apocalypse Now: Final Cut.

Meyer Sound - Cinema Speaker Chat with Miles Rogers

In this episode we chat with Crip Camp Directors James Lebrecht & Nicole Newnham about how the project developed, structuring their complex storyline and the deeper issues the film addresses.

Crip Camp won the Audience Award for U.S. Documentary at the 2020 Sundance Film Festival and is now streaming on Netflix worldwide.

About Crip Camp
Just down the road from Woodstock, in the late 1960s and early 1970s, a parallel revolution blossomed in a ramshackle summer camp for disabled teenagers. Steeped in the humor and music of the era, Crip Camp explores the universal experience of summer camp awakenings that would transform lives and shape the future of the disability rights movement. Told from the point of view of former camper Jim LeBrecht, the film traces the journeys of campers up to the present day, in this compelling and untold story of a powerful journey towards inclusion.

Jim LeBrecht has over 35 years of experience as a film and theater sound designer and mixer, author and disability rights activist. Jim began his career in theater, working as the resident sound designer at the Berkeley Repertory Theater for 10 years. His fim credits include The Island President, The Waiting Room, The Kill Team and Audry and Daisy. A complete list of his film credits (over 145) can be viewed at IMDB. Jim co-authored Sound and Music for the Theater: the art and technique of design. Now in its 4th edition, the book is used as a textbook all over the world. Jim’s work as an activist began in high school and continued at UC, San Diego, where he helped found the Disabled Students Union. Jim is currently a board member of the Disability Education and Defense Fund, which works for the rights of the disabled through education, legislation, and litigation.

Nicole Newnham is an Emmy-winning documentary producer and director, Sundance Film Festival alumnus and five-time Emmy-nominee. She has recently produced two virtual reality films with the Australian artist / director Lynette Wallworth: the breakthrough VR work Collisions, which won the 2017 Emmy for Outstanding New Approaches to Documentary, and Awavena, featured this year at the World Economic Forum in Davos and at the 2017 Sundance Film Festival. Previously she co-directed The Revolutionary Optimists, winner of the Sundance Hilton Sustainability Award, Nicole also instigated, co-produced and directed the acclaimed documentary The Rape of Europa, about the Nazi war on European culture, which was nominated for a WGA award and shortlisted for the Academy Award.  With Pulitzer-prize winning photographer Brian Lanker, she produced They Drew Fire, about the Combat Artists of WWII, and co-wrote the companion book, distributed by Harper Collins. A 1997 graduate of the Stanford Documentary Film Program, Nicole lives in Oakland with her husband Tom, and two sons, Finn and Blaine.

About Higher Ground Productions
Barack and Michelle Obama signed a deal on May 22, 2018 to produce docu-series, documentaries and features for Netflix under the Obamas' newly formed production company, Higher Ground Productions. On the deal, Michelle said "I have always believed in the power of storytelling to inspire us, to make us think differently about the world around us, and to help us open our minds and hearts to others." Higher Ground's first film, American Factory, won the Best Documentary Oscar in 2020.

Crip Camp with Directors James Lebrecht & Nicole Newnham

This week we chat with Composer Kris Bowers about his recent work on the new Hulu show, Mrs. America and the challenges of completing his score during the COVID-19 pandemic.

ABOUT KRIS BOWERS

Emmy Award-winning composer and pianist, Kris Bowers, creates genre-defying music that pays homage to his jazz roots with inflections of alternative and R&B influences. The result is a sound rife with contradictions, a work of nuanced alchemy situated at the summit of his influences. A confluence of jazz greats, classical standards, and the alternative and experimental music of his youth, along with the cinematic storytelling of his most studied film scores. Bowers’ earliest musical inspirations were varied, transcending generation and genre to include work by artists such as Steve Reich, Radiohead, Stevie Wonder, Brian Eno, Herbie Hancock, and Jimi Hendrix. As a young musician, Bowers brought the language of jazz to his covers of artists like Death Cab For Cutie, Tune-Yards, Radiohead, and Kendrick Lamar.

Since 2013, the Juilliard-educated pianist has established himself at the forefront of Hollywood’s emerging generation of genre-defying composers. What sets Bowers apart is his unique ability to compose music that resonates across such a diverse continuum of artists, storytellers, and audiences. From scoring documentaries like Kobe Bryant’s Muse (SHOWTIME, 2015) and Norman Lear: Just Another Version of You (2016), to scripted series including Shonda Rhimes and Paul William Davies’ For The People (ABC), Netflix’s Dear White People, and SHOWTIME’S Black Monday (Exec. Produced by Seth Rogen & Evan Golberg), Bowers’ work as a film and television composer is a testament to his versatility as an artist. 

Bowers first made a name for himself in 2011, when he won the prestigious Thelonious Monk International Jazz Piano Competition at the Kennedy Center in Washington, D.C., where Aretha Franklin chose him as a favorite to win during the semi-finals concert. The win earned him a record deal with Concord Jazz, who later released his debut album, Heroes+Misfits, which opened at number one on the iTunes jazz chart in 2014.

ABOUT MRS. AMERICA

Mrs. America tells the story of the movement to ratify the Equal Rights Amendment (ERA), and the unexpected backlash led by a conservative woman named Phyllis Schlafly, aka “the sweetheart of the silent majority.” Through the eyes of the women of the era – both Schlafly and second wave feminists Gloria Steinem, Betty Friedan, Shirley Chisholm, Bella Abzug and Jill Ruckelshaus – the series explores how one of the toughest battlegrounds in the culture wars of the 70s helped give rise to the Moral Majority and forever shifted the political landscape.

Mrs. America features an all-star team in front of and behind the cameras. Two-time Academy Award and Golden Globe Award winner Cate Blanchett headlines as Phyllis Schlafly, leading a stellar cast portraying some of the most iconic women of the era, including Emmy Award nominated Rose Byrne as Gloria Steinem, Emmy Award winner Margo Martindale as Bella Abzug, Emmy and Golden Globe Award winner Uzo Aduba as Shirley Chisholm, Emmy Award nominated Elizabeth Banks as Jill Ruckelshaus, and Emmy and Golden Globe Award winner Tracey Ullman as Betty Friedan. The cast also boasts Emmy and Golden Globe Award winner Sarah Paulson, Emmy Award nominated John Slattery, Emmy Award nominated Jeanne Tripplehorn, Ari Graynor, Melanie Lynskey and Kayli Carter. Executive Producers are Emmy Award winner Dahvi Waller (Mad Men), who serves as creator and showrunner, Academy Award nominated Stacey Sher (Django Unchained, Erin Brockovich), Coco Francini, Cate Blanchett and Anna Boden & Ryan Fleck (Captain Marvel, Billions), who directed four of the nine episodes, including the first two.

Composer Kris Bowers

Bonnie Wild, the sound effects editor and re-recording mixer of Disney+’s hit show The Mandalorian, takes us behind the scenes for a conversation about achieving cinematic scale and production value on a television budget, balancing the palette of new sound creation with classic Star Wars sounds we all know and love, why mixing in a home theater environment was important for the show, and how to do a Jawa loop group session.

Bonnie Wild — Sound Effects Editor/Re-Recording Mixer

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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.

The Sound of The Mandalorian

Hamilton is a landmark Broadway production of remarkable scope, now streaming into your home on Disney+. In producing the film version, the show’s creative team sought to give the audience “the best seat in the house,” and in this podcast we talk with original Broadway team artists Alex Lacamoire and Nevin Steinberg along with the film’s sound team Tony Volante, Roberto Fernandez, and Dan Timmons about a number of Hamilton topics, including the challenges of designing a custom sound system for the historic Richard Rodgers Theatre, translating the live show into a cinematic world, and how Dolby Atmos played a key part in giving the audience at home the transformative theatrical experience. We also review clips and discuss in detail the numbers “Alexander Hamilton,” “Satisfied,” and “The Room Where It Happens.”

The Sound of Hamilton

In Locke & Key, a mother and her children move to an ominous ancestral house after the mysterious death of the children’s father. There, they begin to discover the house’s ancient mysteries, which revolve around a series of keys which unlock magical environments and disturbing powers.

In this podcast episode, Sound Supervisor J.R. Fountain and Re-recording mixer Eric Apps guide us through the creation of the fantastic sounds of the show, including a terrifying mirror room, a sinister portal to another dimension, and whispering keys that only children can hear. They also discuss an important challenge: hitting the right tone of the series to emphasize the fantastic and magical over the terrifying horror.

Eric Apps – Re-Recording Mixer
J.R. Fountain – Supervising Sound Editor

The Sound of Locke & Key

In this conversation we chat with the sound team from Naughty Dog to discuss their extensive work on The Last of Us: Part 2. We explore the gun and foley sound recordings, creating the terrifying sounds of the infected, the whistle language of the Seraphites, the unique glass and breathing sound systems, Ellie’s guitar gameplay sounds and much more!

Robert Krekel - Audio Lead
Neil Uchitel - Senior Sound Designer
Jonathan Lanier - Audio Programmer
Maged Khalil Ragab – Dialogue Supervisor

The Sound of The Last of Us: Part 2

In this episode, we chat with the sound team from Muse's Simulation Theory live concert film featuring Supervising Sound Editor & Sound Designer Gerry Vazquez, Re-recording Mixer Aleks von Korff and Re-recording Mixer James Parnell.

The latest live film coming from Muse, based around the 2019 album, Simulation Theory, was released in select IMAX cinemas on August 17th with digital downloads from Amazon, Google Play and iTunes released on August 21st with a deluxe box-set set to be released on 11th December, featuring a 5.1 DTS Master Audio Blu-Ray, together with an LP, both with audio from the film, paired with a Casette of the film score, which was written by Bellamy himself.

The film was shot in 2019 at the O² Arena concerts, on 14th and the 15th September 2019.

The movie follows a team of scientists investigating the source of an unknown paranormal anomaly, spreading across the globe. The center of the anomaly is in London and appears to be at Muses stage. One of the scientists, known as Murphy touches the simulation theory arcade game and is electrocuted. He breaks the fabric of his reality and breaks into our own, standing alone out on the stage. He is soon pulled back, but shortly after is "bitten" by a phantom of a Muse Dancer. He then starts transforming into a monster after being infected by a mysterious pathogen.

Muse - Simulation Theory Live Concert Film

We chat with Director Leigh Whannell about the sound and music of his new science fiction horror film, The Invisible Man starring Elisabeth Moss.

Also featuring Composer Benjamin Wallfisch, Supervising Sound Editor & Re-recording Mixer Will Files and Supervising Sound Editor & Sound Designer Philip Hooker.
 
ABOUT THE FILM:
After staging his own suicide, a crazed scientist uses his power to become invisible to stalk and terrorize his ex-girlfriend. When the police refuse to believe her story, she decides to take matters into her own hands and fight back.

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The Sound of The Invisible Man

We chat with Supervising sound editor Sergio Diaz and re-recording mixer Zach Seivers about Director Chloé Zhao’s new film, Nomadland.

Frances McDormand and director Chloé Zhao met a day before the 33rd Independent Spirit Awards in March 2018, and instantly wanted to do a film together. Filming for Nomadland took place over four months in fall 2018, with writer-director Zhao splitting time between set and pre-production for Eternals (2021). McDormand, Zhao, and other crew members lived out of vans over the course of production. David Strathairn, and real-life nomads Linda May, Charlene Swankie, and Bob Wells, also star. The sound design was very important to the film and was tailored to the very different specific landscapes Fern travels through. For this Zhao and her team worked with Mexican born Sergio Diaz, who has collaborated with renowned directors Alfonso Cuarón (Roma), Guillermo del Toro (Pan's Labyrinth, Hell Boy II: The Golden Army), and Alejandro González Iñarritu (21 Grams, Babel). For Nomadland he partnered with Los Angeles based Zach Seivers who also served as re-recording mixer. “We wanted to keep the sound design true to the soundscapes of the places where Fern finds herself, explains Zhao. “Very much like the music, we didn’t want to use “tricks” in sound design to tell the audiences how and what to feel. We wanted to be creative, experiential in our sound design, as well as true and honest.”

The Sound of Nomadland

The goal for the SoundWorks Collection is simple; we are dedicated to profiling the greatest and upcoming sound minds from around the world and highlight their contributions. The SoundWorks Collection was created by Director Michael Coleman in November of 2009 in a partnership with MIX Magazine, several audio focused college schools and programs, and the support of the online sound community worldwide.

The SoundWorks Collection takes you behind the scenes and straight to the dub stage for a look into audio post-production for feature films, video game sound design, and original soundtrack composition. This exclusive and intimate video series focuses on individuals and teams behind-the-scenes bringing to life some of the worlds most exciting projects.

Soundworks Collection

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