Tag Archives: Molinare Post Production

Killing Eve EP Sally Woodward Gentle walks us through Season 3

By Iain Blair

Killing Eve is more than just one of the most addictive spy thrillers on TV. It’s also a dark comedy, a workplace drama and a globe-trotting actioner that tells the story of two women engaged in an epic game of cat-and-mouse — Eve (Sandra Oh), head of a secret MI6 unit, and Villanelle (Jodie Comer), a beautiful (and strangely likeable) psychopathic assassin Eve’s been tasked to track down.

Sally Woodward Gentle

The award-winning show continues the story of the two women when it returns for its third season, now airing on both BBC America and AMC. Season 3 sees Eve back in action after having survived being shot by Villanelle in the Season 2 finale. Eve is now in Rome and her current MI6 status is in flux after being manipulated by Carolyn (Fiona Shaw), Eve’s boss.

Continuing the show’s tradition of passing the baton to a new female writing voice, Suzanne Heathcote serves as lead writer and executive producer for Season 3, joining executive producers Sally Woodward Gentle, Phoebe Waller-Bridge (who was brought on by Gentle as head writer for Season One), Lee Morris, Gina Mingacci, Damon Thomas, Jeff Melvoin and Sandra Oh. Killing Eve is produced by Sid Gentle Films and is distributed by Endeavor Content.

I recently spoke with Gentle — the BAFTA-winning and Emmy-nominated EP of the dramas Any Human Heart and The Durrells in Corfu — about making the show (based on the books of Luke Jennings) and her workflow.

What can you tell us about Season 3 without giving too much away?
It’s a much more emotional season. We move Eve and Villanelle’s relationship on, and we get to see more of what Villanelle is really about. At the same time, Eve is really tested. We also bring in lots of new characters, which is very exciting, and Carolyn and Konstantin (Villanelle’s handler, played by Kim Bodnia) have got huge roles to play.

The appeal of two female leads seems obvious now, but were there doubts about having them play traditional male roles when you first optioned Jennings’ books?
Not really. In fact, it didn’t even cross my mind. I just felt that people really enjoy having a female assassin, and that it would be great to have another woman chase her. And I didn’t feel that the idea was wildly original. It just felt right, but I knew there were other female assassin shows out there, and I didn’t want people to go, “Oh, there’s La Femme Nikita.” I did feel it was time to do something bolder with it.

Is that how you decided to involve Phoebe Waller-Bridge?
Exactly. I’d read Fleabag and we’d had a meeting, and I just loved her attitude. Back then, she’d only done Fleabag and written some very clever comedy. I loved the idea of putting Luke’s novellas together with her attitude, joie de vivre and love of TV and what it could do. It didn’t feel like, “Wow, this will be earth-shatteringly different!” It just felt like something really interesting to do. Just do it and see what comes out.

You’ve executive produced all three seasons. What are the main challenges of this show?
To keep it feeling really fresh each year, and to not repeat stuff you’ve done. To examine new, different areas of emotional relationships, and to put people under different types of stress. The other big challenge is that we have to turn it around from start to finish in just one year. We have to write all the scripts, shoot them, post them and get them out there in that time. It’s really hard work, both physically and mentally, but a lot of our team’s been here since the start. They love it, and that really helps, and everyone wants to push it a bit harder every season, so we embrace all new ideas.

Is it true that when Sandra Oh was first approached, she didn’t quite believe she was being cast as Eve?
Yeah, she hadn’t pictured herself in the role, but she’s brilliant.

What do Sandra and Jodie bring to the mix?
They bring so much. We were still finishing scripts for Season 1 as we shot, so you can’t help but feed their input into the scripts, and the characters really have so much of the actors’ DNA. They just know them so well and how they’d respond.

You always use great locations. Where did you shoot Season 3?
In Spain, Romania, the UK. We get around!

Where do you post?
All at Molinare in London. We do everything from the edit to the grade, and we do all the sound at Hackenbacker, which is part of Molinare.

Do you like the post process?
I love it and really enjoy it. We have a great post supervisor, Kate Stannard, who’s been on the show since the start. The great thing about post is that you get to rewrite all the raw material and be really creative with it.

Talk about editing. You have several editors, I assume because of the time factor. How does that work?
We have a great team of editors, including Dan Crinnion, who’s been on the show since the start, and an Italian editor Simone Nesti, who does the assembly and who’s also been with us since the start. As soon as a director has finished shooting, we get right in there with the editor who does that block. We shoot in blocks of two episodes,and each block has its own editor and assistants. It’s not a huge team considering the amount of work.

The show is a real genre mash-up — thriller, comedy, action, emotional drama. How do you handle all the shifting tones?
That’s the big editing challenge and the thing we were most concerned about in Season 1  — that Eve’s and Villanelle’s two stories were too disparate to be knitted together properly. But once you start to get a feel for what the show is and what works and what doesn’t, it flows more easily. For me, if it gets too broad and it doesn’t feel truthful, that’s not good. But then it’s also a big piece of entertainment, so you can be really wild with it. We’re not saving lives, and there’s no massive message. We just want to be truthful about human behavior and be very entertaining.

There’s obviously a lot of attention also paid to the sound and the music.
Thanks for noticing. We have a great production sound team. Nigel Heath is our rerecording mixer, and our aim is not to have the dialogue too clean and out front. We like to keep a lot of texture in the background and make it feel quite immersive. Then in terms of the music, composer David Holmes is quite bold in his choices. That’s very tricky, as we try hard not to be too genre and obvious with the cues, so they don’t just reinforce the visuals and what you should feel. So at a very dark moment the score might be quite celebratory and glorious. We’re constantly trying to flip it.

What about the DI?
It’s incredibly important, and our colorist Gareth Spensley has worked on it since Season 1 so he knows the show really well, and he works very closely with our DP Julian Court, who’s done most of the episodes since the start. Sometimes we have to shoot out of sequence, at different times of year, so you have to match all that. We try to find locations that feel fresh and exciting, and then we try hard not to overstylize the look and keep all the skin tones as natural and real as possible, and then enhance the beauty of the rest of it. At the very start of the show, we thought of pushing the look to get a more “noir” look, but it just didn’t feel right, so we just leant more into the pleasure of the visuals.

How important are the Emmys to a show like this?
Hugely important, for both the show and the actors. I think it’s given us far more visibility.

I heard you already got picked up for Season 4. How far along are you with it?
We’re already writing and nearly have the whole season arc worked out, and we’ll start shooting it at the end of September. Of course, it all depends on what happens with the COVID-19 crisis, but that’s the plan.

Will you do more seasons?
I can see us going on as long as we keep refreshing it and move their relationship along. Then we have all these new characters we’ve created who’ll be there in Season 4 and beyond, so there’s plenty to explore.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Nigel Bennett upped to managing director at UK’s Molinare

Molinare has promoted Nigel Bennett to the role of managing director. He joined the studio earlier this year from Pinewood Studios, where over a 20-year period he worked his way up from re-recording mixer to group director of creative services, a position that he held since 2014.

Bennett’s responsibilities include growing revenue across feature film, TV drama, feature documentaries and reality TV. Over the coming months he will work with the existing senior team at Molinare to implement a new business growth and investment plan with the full support of Molinare’s shareholders, Saphir Capital and Next Wave Partners.

Bennett replaces Julie Parmenter, who has left the company after seven years. While at Molinare, Parmenter was integral to maintaining the successful Molinare brand, subsequent acquisition of Hackenbacker and expansion into Hoxton.

Providing audio post for Three Identical Strangers documentary

By Randi Altman

It is a story that those of us who grew up in the New York area know well. Back in the ‘80s, triplet brothers separated at birth were reunited, after two of them attended the same college within a year of each other — with one being confused for the other. A classmate figured it out and their story was made public. Enter brother number three.

It’s an unbelievable story that at the time was considered to be a heart-warming tale of lost brothers — David Kellman, Bobby Shafran and Eddy Galland — who found each other again at the age of 19. But heart-warming turned heart-breaking when it was discovered that the triplets were part of a calculated, psychological research project. Each brother was intentionally placed in different levels of economic households, where they were “checked in on” over the years.

L-R: Chad Orororo, Nas Parkash and Kim Tae Hak

Last year, British director Tim Wardle told the story in his BAFTA-nominated documentary, Three Identical Strangers, produced by Raw TV. For audio post production, Wardle called on dialogue editor and re-recording mixer Nas Parkash, sound effects editor Kim Tae Hak and Foley and archive FX editor editor Chad Orororo, all from London-based post house Molinare. The trio was nominated for an MPSE Award earlier this year for their work on the film.

We recently reached out to the team to ask about workflow on this compelling work.

When you first started on Three Identical Strangers, did you realize then how powerful a film it was going to be?
Nas Parkash: It was after watching the film for the first time that we realized it was going to be seminal film. It’s an outrageous story — the likes of which we hadn’t come across before. We as a team have been fortunate to work on a broad range of documentary features, but this one has stuck out, probably because of its unpredictability and sheer number of plot twists.

Chad Orororo: I agree. It was quite an exciting moment to watch an offline cut and instantly know that it was going to be phenomenal project. The great thing about having this reaction was that the pressure was fused with excitement, which is always a win-win. Especially as the storytelling had so much charisma.

Kim Tae Hak: When the doc was first mentioned, I had no idea about their story, but soon after viewing the first cut I realized that this would be a great film. The documentary is based on an unbelievable true story — it evokes a lot of mixed feelings, and I wanted to ensure that every single sound effect element reflected those emotions and actions.

How early did you get involved in the project?
Tae Hak: I got to start working on the SFX as soon as the picture was locked and available.

Parkash: We had a spotting session a week before we started, with director Tim Wardle and editor Michael Harte, where we watched the film in sections and made notes. This helped us determine what the emotion in each scene should be, which is important when you’ve come to a film cold. They had been living with the edit, evolving it over months, so it was important to get up to speed with their vision as quickly as possible.

Courtesy of Newsday

Documentary audio often comes from many different sources and in varying types of quality. Can you talk about that and the challenges related to that?
Parkash: The audio quality was pretty good. The interview recordings were clean and on mic. We had two mics for every interview, but I went with the boom every time, as it sounded nicer, albeit more ambient, but with atmospheres that bedded in nicely.

Even the archive clips, such as from the Phil Donahue Show, were good. Funnily enough, you tend to get worse-sounding archives the more recent it is in history. 1970s stuff on the whole seems to have been preserved quite well, whereas stuff from the 1990s can be terrible.

Any technical challenges on the project?
Parkash: The biggest challenge for me was mixing in commercial music with vocals underneath interview dialogue. It had to be kept at a loud enough level to retain impact in the cinema, but low enough that it didn’t fight with the interview dialogue. The biggest deliberation was to what degree should we use sound effects in the drama recon — do we fully fill or just go with dialogue and music? In the end it was judged on a case-by-case basis.

How was Foley used within the doc?
Orororo: The Foley covered everything that you see on screen — all of the footsteps, clothing movement, shaving and breathing. You name it. It’s in there somewhere. My job was to add a level of subtle actuality, especially during the drama reconfiguration scenes.

These scenes took quite a bit of work to get right because they had to match the mood of the narration. For example, the coin spillage during the telephone box scene required a specific amount of coins on the right surface. It took a numerous amount of takes to get right because you can’t exactly control how objects fall and the texture also changes depending on the height from which you drop an object. So generally, there’s a lot more to consider when recording Foley than people may assume.

Unfortunately there we’re a few scenes where Foley was completely dropped (mainly on the archive material), but this is something that usually happens. The shape of the overall mix always takes favor over the individual elements that contribute to the mix. Teamwork makes the dream work, as they say, and I really think that showed with the final result.

Parkash: We did have sync sound recorded on location, but we decided it would be better to re-record at a higher fidelity. Some of it was noisy or didn’t sound cinematic enough. When it’s cleaner sound, you can make more of it.

What about the sound effects? Did you use a library or your own?
Parkash: Kim has his own extensive sound effects library. We also have our own personal ones, plus of Molinare’s. Anything we can’t find, we’ll go out and record. Kim has a Zoom recorder and his breathing has been featured on many films now (laughs).

Tae Hak: I mainly used my own SFX library. I always build up my own FX library, which I can apply instantly for any type of motioned pictures. I then tweak by applying various software plugins, such as Pitch & Time Pro, Altiverb and many more.

As a brief example of how I completed sound design for the opening title, the first thing I did was specifically look for realistic heartbeats of six-month infants. After successfully collecting some natural heartbeats. I then blended them with other synthetic elements as I started to vary the pitch slightly between them (for the three babies), applying various effects, such as chorus and reverb, so each heartbeat has a slightly different texture. It was a bit tricky to make them distinct, but still the same (like identical triplets).

The three heartbeats were panned across the front three speakers in order to create as much separation and clarity as possible. Once I was happy with the heartbeats as a foundation. I then added other sound elements, such as underwater, ambiguous liquids and other sound design elements. It was important for this sequence to build in a dramatic way, starting as mono and gradually filling the 5.1 space before a hard cut into the interview room.

Can you talk about working with director Tim Wardle?
Tae Hak: Tim was fantastic and very supportive throughout the project. As an FX editor, I had less face to face with him than Nas, but we had a spot session together before the first day of working, and we also talked about our sound designing approach over the phone, especially for the opening title, and the aforementioned sound of triplets’ heartbeats.

Orororo: Tim was great to work with! He’s a very open-minded director who also trusts in the talent that he’s working with, which can be hard to come by especially on a project as important as Three Identical Strangers.

Parkash: Tim and editor Michael Harte were wonderful to work with. The best aspect of working in this industry are the people you meet and the friendships you make. They are both cinephiles, who cited numerous other films and directors in order to guide us through the process — “this scene should feel like this scene from such and such movie.” But they were also open to our suggestions and willing to experiment with different approaches. It felt like a collaboration, and I remember having fun in those intense few weeks.

How much stock footage versus new footage was shot?
Parkash: It was all pretty much new — the sit-down interviews, drama recon and the GVs (b-roll). The archive material was obviously cleared from various sources. The home movie footage came mute, so we rebuilt the sound but upon review decided that it was better left mute. It tends to change the audience’s perspective of the material depending on whether you hear the sound or not. Without, it feels more like you’re looking upon the subjects, as opposed to being with them.

What kind of work went into the new interviews?
Parkash: EQ, volume automation, de-essing, noise reduction, de-reverb, reverb, mouth de-click — Izotope RX6 software basically. We’ve become quite reliant upon this software for unifying our source material into something consistent and to achieve a quality good enough to stand up in the cinema, at theatrical level.

What are you all working on now at Molinare?
Tae Hak: I am working on a project about football (soccer for Americans) as the FX editor. I can’t name it yet, but it’s a six-episode series for Amazon Prime. I’m thoroughly enjoying the project, as I am a football fan myself. It’s filmed across the world, including Russia where the World Cup was held last year. The story really captures the beautiful game, how it’s more than just a game, and its impact on so much of the global culture.

Parkash: We’ve just finished a series for Discovery ID, about spouses who kill each other. I’m also working on the football series that Kim mentioned for Amazon Prime. So, murder and footy! We are lucky to work on such varied, high-quality films, one after another.

Orororo: Surprisingly, I’m also working on this football series (smiles). I work with Nas fairly often and we’ve just finished up on an evocative, feature-length TV documentary that follows personal accounts of people who have survived massacre attacks in the US.

Molinare has revered creatives everywhere you look, and I’m lucky enough to be working with one of the sound greats — Greg Gettens — on a new HBO Channel 4 documentary. However, it’s quite secret so I can’t say much more, but keep your eyes peeled.

Main Image: Courtesy of Neon


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years.