Richard King talks sound design for Dunkirk

Using historical sounds as a reference

By Mel Lambert

Currently garnering critical acclaim for its stunning and immersive soundtrack — particularly the IMAX showcase screenings — writer/director Christopher Nolan’s latest film follows the fate of nearly 400,000 allied soldiers who were marooned on the beaches of Dunkirk, Continue reading


The sounds of Spider-Man: Homecoming

By Jennifer Walden

Columbia Pictures and Marvel Studios’ Spider-Man: Homecoming, directed by Jon Watts, casts Tom Holland as Spider-Man, a role he first played in 2016 for Marvel Studios’ Captain America: Civil War (directed by Joe and Anthony Russo).

Homecoming reprises a few key character roles, Continue reading


Baby Driver editors — Syncing cuts to music

By Mel Lambert

Writer/director Edgar Wright’s latest outing is a major departure from his normal offering of dark comedies. Unlike his Three Flavours Cornetto film trilogy — Shaun of the Dead, Hot Fuzz and The World’s End — and Scott Pilgrim vs. Continue reading


Sound — Wonder Woman’s superpower

By Jennifer Walden

When director Patty Jenkins first met with supervising sound editor James Mather to discuss Warner Bros. Wonder Woman, they had a conversation about the physical effects of low-frequency sound energy on the human body, and how it could be used to manipulate an audience. Continue reading


The A-List: Director Ron Howard discusses National Geo’s Genius

By Iain Blair

Ron Howard has done it all in Hollywood. The former child star of The Andy Griffith Show and Happy Days not only successfully made the tricky transition to adult actor (at 22 he starred opposite John Wayne in The Shootist and was nominated for a Best Supporting Actor Oscar), Continue reading

Creating a sonic world for The Zookeeper’s Wife

By Jennifer Walden

Warsaw, Poland, 1939. The end of summer brings the beginning of war as 140 German planes, Junkers Ju-87 Stukas, dive-bomb the city. At the Warsaw Zoo, Dr. Jan Żabiński (Johan Heldenbergh) and his wife Antonina Żabiński (Jessica Chastain) watch as their peaceful sanctuary crumbles: their zoo, Continue reading

A conversation with editor Hughes Winborne, ACE

This Oscar-winning editor talks about his path, his process, Fences and Guardians of the Galaxy.

By Chris Visser

In the world of feature film editing, Hughes Winborne, ACE, has done it all. From cutting indie features (1996’s Sling Blade) to CG-heavy action blockbusters (2014’s Guardians of the Galaxy) to winning an Oscar (2005’s Crash), Continue reading

Rick Pearson on cutting Kong: Skull Island

By Randi Altman

Who doesn’t love a good King Kong movie? And who says a good King Kong movie has to have the hairy giant climbing the Empire State Building, lady in hand?

The Jordan Vogt-Roberts-directed Kong: Skull Island, which had an incredible opening weekend at the box office — and is still going strong — tells the story of a 1973 military expedition to map out an island where in 1944 two downed pilots happened upon a huge monster. Continue reading

Creating the color of Hacksaw Ridge

Australian colorist Trish Cahill first got involved in the DI on Mel Gibson’s Hacksaw Ridge when cinematographer Simon Duggan enquired about her interest and availability for the film. She didn’t have to consider the idea long before saying yes.

Hacksaw Ridge, Continue reading

The sound of John Wick: Chapter 2 — bigger and bolder

The director and audio team share their process.

By Jennifer Walden

To achieve the machine-like precision of assassin John Wick for director Chad Stahelski’s signature gun-fu-style action films, Keanu Reeves (Wick) goes through months of extensive martial arts and weapons training. Continue reading