The Horror of Sound Design With Elliot Thompson

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Welcome back to Nightmare Logic, the zombie earworm

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that lovingly eats its way into your cellar bellum.

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We’re your hosts with Swiss cheese brains, Christopher

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Smith, Peter Sawyer, and Taffeta Darling. And

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today we are joined by our dear old friend and

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Emmy nominated sound mixer, Elliot Thompson,

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to discuss the terror of sound design. Welcome.

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Did you guys do anything fun this week? Anything

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interesting? I held a piece of Pablo Picasso’s

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art. You held it like with your fingers. Yeah,

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because a place that I’m working Transport stuff

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and it did not look anything impressive and then

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I was like, oh it’s a Picasso piece So it’s just

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kind of a funny realization. That’s crazy because

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like normally, you know at the galleries they’re

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like It’s like from an auction house, right?

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So he but it was it wasn’t a painting. It was

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like a porcelain thing I was like, did you like

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sneeze on it? Like this is no. What about you,

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Taffy? Is anything really quick? Was that for

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Heritage? Was that what it was? Action House?

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No, it’s those like clay pots and this porcelain

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stuff and ceramics. He’s done Yeah, it probably

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was one of those maybe it was that like a series

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No, well because like hair did you say have some

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of those such I was curious I was like, oh my

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god, I’ve seen some of those so I’m curious if

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it’s from the same series that he had put out

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It’s possible. I it was just like a one -off

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and it’s just that I saw the name and I was like,

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oh wow Yeah, it’s not impressive. No, I get what

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you’re saying I was like I’ve done that man like,

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you know, I think you know Maybe the paintings

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you stick to that Can I tell Picasso that? I

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saw a movie called Liverleaf, a Japanese movie

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from 2018 by, I’m going to butcher their name,

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Isuki Naito. And it’s written by Rensuke Oshikiri

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and Miyako Tadano. And it’s. Pretty interesting

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movie because it reminded me of a very dark Mean

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girls that was like takes place on a in a village

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snowbound in Japan But it’s not it’s it’s like

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it’s a revenge movie about bullying and the characters

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are so cruel So the tone is like really like

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oh fuck But then when it gets to the killing

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the gore is shocking, but it’s also kind of silly

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So it feels like a interesting contrast for what

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it is But the ending is pretty interesting. Like,

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I was ultimately impressed with it. When was

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that? 2018. And what’s it called again? Liverleaf,

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which is a plant that, I guess, deals with hardships

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and comes back strong, sort of, which ties to

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the theme of the movie, I guess. But it was cool.

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And I also saw Send Help, the Sam Raimi movie

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that came out, I think, in January. Right, about

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the woman on the island with her boss or whatever.

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Yeah, and it’s I thought I really enjoyed it.

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It felt like if someone gave Sam Raimi forty

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million dollars to do a Tales from the Crypt

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episode on an island, because it’s doesn’t quite

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feel like horror at first. It’s more like it’s

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Rachel McAdams. And I think his name is Dylan

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O ‘Brien. And she works for him and he is dismissive

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of her. But turns out she has all these survival

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skills because she was like a contestant or wanted

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to be on. One of those survivor shows so she’s

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kind of saving the day and the power dynamic

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switches um, and there’s a lot of like gore and

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crazy stuff, but It yeah, it’s fun. It’s I really

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enjoyed it and it’s sam ramey is still can move

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a camera like he has all those sweeping shots

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and It’s pretty enjoyable and that’s uh send

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help which i’ve been meaning to check out as

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well. Yeah nice any other Just well, I started

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I guess I wasn’t gonna super talk about it, but

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it was like something Very bad is going to happen.

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Is that what it’s called? Yeah, I want to see

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that. It’s it’s interesting. It’s like I think

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I told you that it sort of is a little bit like

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David Lynch, but it’s more like if David Lynch

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leaned more into horror than weird, but it’s

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a combination of both. Yeah, I we are on the

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way here. Actually, they were talking about it

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on NPR and all the NPR critics had positive things

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to say about it. They generally like the tone

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of it and they thought it was going to be like

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ready or not. But then it wasn’t that was there.

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It’s surprising. I’m like four episodes in, I

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think. The one criticism I kind of heard about

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that is that some people think that it maybe

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would have been better suited to a feature rather

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than a series. Like maybe they’re kind of dragging

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it out a little too much or something like that.

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Maybe that happens towards the episodes I haven’t

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seen. Right now it feels pretty balanced. That’s

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good. And yeah, I’m waiting to see if certain

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things are paid off. Nice. Nice. And Taffy, when

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I like, did you do something this weekend? For

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me this week, I think like the biggest thing

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I’ve done is I downloaded the new Resident Evil

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and I’m hoping to get into that for gaming. I

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haven’t yet, but that’s yeah. Oh, shit, that

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came out. Yeah, yeah. What’s it called? Resident

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Evil 7. I know. I thought it had some other name.

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I’m sure it does. I just saw it pop up and I

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was like, oh, score. And it’s with my game pass.

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So I downloaded it. Right on. I’m looking forward

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to that. I did start some older like zombie games,

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but they’ve been out for a while and stuff. Oh,

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yeah. And also I was at WonderCon this week and

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I forgot how that just slips my mind because

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I was at a convention and I guess it’s like already

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second nature. But yeah, I was out there for

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a cosplay panel that I moderated, which was kind

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of cool because it was my first like, you know,

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moderating out living in L .A. And also WonderCon

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is like the sister show to San Diego Comic Con.

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So that’s kind of nice to just have that that

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I’ve actually officially done something for Comic

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Con International. You know, that was that was

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neat. Did you do cosplay while you were on the

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panel? I didn’t. I thought about it because I

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did have some, you know, stuff, but it’s all

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in storage. And at some point, I just the idea,

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even though I was like right there, I could have

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grabbed something. I just I didn’t. Well, I don’t

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know if I were running things, I would insist

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that the cosplay panel featured cosplay. But

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I did see your photos and that one woman had

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a was it a Fantastic Four costume or something?

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She was Phoenix Phoenix. Yeah. Yeah, there was

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one girl because they were the cosplayers as

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more moderators So I think there’s a little bit

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of like the way for me to write and actually

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have to be in costume But yeah, there was a couple

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of photographers, which was nice because usually

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it’s just focused on the cosplay but to have

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like the Photographer like point of view and

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I was able to ask them questions since they were

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my questions. But yeah, it was cool. I’m like,

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alright here I am in California doing panels

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for California stuff now. So that was a nice

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little milestone. Nice. Well, congratulations

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Yeah, I haven’t really watched that much just

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because it was Ozzy’s birthday this week. And

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I had family in town and, you know, that he’s

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he’s a he’s a big two year old now. I did watch

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a little Miss Rachel and Mickey Mouse he’s into

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right now. What’s Miss Rachel? What’s Miss Rachel?

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Oh, the life of a child this person. I’ll explain

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off off air. Yeah, yeah, yeah. Yeah. I did want

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to mention, though, I came across this really

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cool video that I watched part of. Need to watch

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the rest of it. But it’s Mark Duplass doing,

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I think, a keynote conversation at South by Southwest

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about the new paradigm for indie moviemaking

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for all you filmmakers out there. Really interesting.

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And he kind of got in. He analyzed the rise of

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streaming and technological advancements and

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how they’ve kind of democratized filmmaking and

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shifted the landscape for independent filmmakers.

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I think he also discussed some strategies for

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achieving like artistic freedom while navigating

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a flooded marketplace So it’s it’s so far. It’s

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been really interesting and he’s kind of the

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king of low -budget You know mumblecore kind

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of filmmaking and totally worth checking out

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that video. We’ll have a link in our show notes

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for that as well But what about you Elliot our

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guest? Did you see anything interesting do anything

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cool? I finally saw one bottle after another

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I also saw jeopardy in person. That wasn’t this

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week. It was the week before So, that’s pretty

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scary, right? That’s awesome, actually. Did you

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like it? One battle after another? I thought

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you were going to ask me about Jeopardy. I did,

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yeah. But that was really good. Cool. Did you

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call out the clues when you were in the audience

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for Jeopardy? They’re very strict about that.

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They have bouncers that will grab you and drag

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you out of the audience if you try to interrupt.

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Totally. Because if it’s anything like my trivia

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nights that I go to, it’s someone in the back.

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God yeah, no, that’s the worst thing you can

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possibly do Great segueing to the news got a

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few quick things to mention here Apparently the

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Blair Witch project remake which I didn’t know

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is the thing until this week They landed a director

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And what’s interesting and the reason I want

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to talk about this is actually this is going

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to be, I believe, his first feature. And it’s

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a guy that kind of became known for his horror

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short films. So for all of you laboring away

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on short films thinking that they can’t pay off,

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obviously, sometimes they do. And, you know,

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in terms of opening doors to doing better, bigger

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and better projects, you might land a Blair Rich

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Project remake. And the director is Dylan Clark.

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And he is known for his short films, Transfigure

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and Portrait of God. And Portrait of God actually

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is currently being adapted into a feature also

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by Sam Raimi’s production company. I think it’s

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called Ghost House. You guys remember that? Yeah.

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Yeah. And and also in conjunction with Jordan

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Peele’s Monkey Paws. So for Universal. So anyways,

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it’s obviously some heavy hitters behind it.

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So he’s doing something right. And for funsies,

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I put. Portrait of God the short is gonna be

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on the show notes. So you can go check that out

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if you’d like and I was gonna say something interesting.

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Yeah, go for it. If they’re remaking Blair Witch

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project, this might be the first found footage

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remake at least I can think of yeah That’s an

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interesting point. I’m kind of wondering and

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that was a question I thought immediately was

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like is this found footage or is it right? Are

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they gonna go more traditional? I mean, I think

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if you don’t do found footage you kind of like

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Don’t know like you That’s the whole point of

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Blair Witch is what is known for well this the

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sequel wasn’t I know and that’s why nobody liked

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it I know I haven’t seen book of shadows I heard

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it was not good But I don’t know if it was not

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good because it wasn’t found footage or just

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wasn’t good for other reasons You know I saw

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when it came out in the theaters because I was

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a big Blair Witch project fan And I I remember

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being disappointed and I was probably 17 and

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not like the most critical viewer either at the

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time. So like, I don’t know, but maybe it holds

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up better than I thought. I feel like I’m going

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to get a lot of shit for this, but I actually

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enjoy watching it. Not because I think it’s good,

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just because it is mindless and I can just put

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it on in the background. And it’s just something

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that, I don’t know, it’s become one of those

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comfort movies for me because it is just so bad

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that I don’t have like any like anxiety watching

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anything new. but I like the second part of it

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how it becomes meta to where it like, you know

00:11:34.120 –> 00:11:35.980
takes the movie itself and makes itself kind

00:11:35.980 –> 00:11:37.960
of like a joke and like a touristy thing and

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then it winds up becoming like Oh, maybe this

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actually is and they still you know, switch it

00:11:42.340 –> 00:11:43.980
back around and they’re like Oh, maybe it is

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actually like a witch or something. Yeah, I don’t

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know. It’s it’s it is terrible. I’m sorry You

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know, and it’s one of those things where I can’t

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I mean Apparently it’s terrible. But you know,

00:11:57.399 –> 00:11:59.940
if you would ask me I would have never Not been

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able to say whether it was terrible or just didn’t

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live up to the original, you know, a lot of sequels

00:12:04.100 –> 00:12:07.299
are just kind of like fumble. Yeah. But I’m curious

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about this remake. They haven’t really released

00:12:09.500 –> 00:12:11.919
as far as I know, too much about like the actual

00:12:11.919 –> 00:12:13.960
concept and what it’s going to be. But, you know,

00:12:13.960 –> 00:12:17.159
they say remakes on, I don’t know, cautiously

00:12:17.159 –> 00:12:21.980
optimistic, I guess. So also along those lines,

00:12:22.480 –> 00:12:25.759
lights out to after 10 years. Warner Brothers

00:12:25.759 –> 00:12:29.799
has hired a writer to write Lights Out 2, which

00:12:29.799 –> 00:12:33.320
was made for $5 million and I think it grossed

00:12:33.320 –> 00:12:35.279
$150 million. So it was like a kind of a smash

00:12:35.279 –> 00:12:38.519
hit at the time. And it also was one of James

00:12:38.519 –> 00:12:42.919
Wan’s earlier producing projects and introduced

00:12:42.919 –> 00:12:46.820
the director of that, David F. Sandberg, who

00:12:46.820 –> 00:12:49.120
went on to direct Annabelle Creation and some

00:12:49.120 –> 00:12:51.899
other things. So it’s kind of curious in Hollywood

00:12:51.899 –> 00:12:55.029
that they would actually wait 10 years to Do

00:12:55.029 –> 00:12:58.090
a sequel to such a hit, you know? Any thoughts?

00:12:59.309 –> 00:13:02.549
Yeah, I mean, I’m curious that that is it feels

00:13:02.549 –> 00:13:04.929
very random. I don’t I mean, maybe there’s some

00:13:04.929 –> 00:13:07.190
development stuff that random in that they’re

00:13:07.190 –> 00:13:09.870
doing it or that it took so long. I mean, I it

00:13:09.870 –> 00:13:12.730
makes sense. It was a hit, but it felt like a

00:13:12.730 –> 00:13:14.970
flash in a pan and I like completely forgot about

00:13:14.970 –> 00:13:17.090
it other than when I’m like, oh, what short films

00:13:17.090 –> 00:13:20.090
became features and that’s one of them. Mm hmm.

00:13:20.950 –> 00:13:23.070
So, yeah, I mean, I remember watching it at the

00:13:23.070 –> 00:13:26.779
time and Enjoying it a lot, but I agree with

00:13:26.779 –> 00:13:29.039
you. It didn’t like, you know live rent free

00:13:29.039 –> 00:13:32.039
in my brain for those last 10 years either so

00:13:32.039 –> 00:13:36.600
But it is it is like a simple concept. So it’d

00:13:36.600 –> 00:13:38.120
be curious I mean, I guess like the way that

00:13:38.120 –> 00:13:40.539
you do a sequel to that is you just double down

00:13:40.539 –> 00:13:43.600
on the concept and don’t try to make it too intellectual

00:13:43.600 –> 00:13:48.899
Right. I mean it Smile has a very simple concept

00:13:48.899 –> 00:13:52.080
and you know, the other one kind of thing that

00:13:52.080 –> 00:13:54.210
you’re going on to the third one soon Right.

00:13:54.389 –> 00:13:57.190
And they have a comic prequel. Oh. With that.

00:13:57.490 –> 00:14:00.090
So yeah. Comic, really? Yeah. Is there a lot

00:14:00.090 –> 00:14:02.970
of films that, you know, we make a lot of films

00:14:02.970 –> 00:14:04.789
based on comics, but are there a lot of comics

00:14:04.789 –> 00:14:06.669
based on films? Yeah, yeah, there’s a lot of

00:14:06.669 –> 00:14:08.009
stuff. I mean, there’s even like the, you know,

00:14:08.610 –> 00:14:10.230
the the novels that are like the adaptation of

00:14:10.230 –> 00:14:11.929
the movies, the paperback novels, but it’s the

00:14:11.929 –> 00:14:14.970
same in comics. Even Event Horizon like has two

00:14:14.970 –> 00:14:17.870
different series out right now. Right. I haven’t

00:14:17.870 –> 00:14:19.889
read like the new one that I want to. And then

00:14:19.889 –> 00:14:21.789
they’re even, you know, adding more event horizon

00:14:21.789 –> 00:14:24.889
to the stuff. But yeah, there are a lot of adaptations

00:14:24.889 –> 00:14:27.090
that go from movies to comics, particularly in

00:14:27.090 –> 00:14:29.509
horror, because I think the people who like horror,

00:14:29.610 –> 00:14:30.929
they’re like hardcore fans. And so they want

00:14:30.929 –> 00:14:33.009
to keep that story going. Totally. And you can

00:14:33.009 –> 00:14:37.590
do so much in a comic book on, you know, that

00:14:37.590 –> 00:14:40.110
visually and like, I don’t know, I can see that

00:14:40.110 –> 00:14:45.940
really cool. Great. Well, uh, so the official

00:14:45.940 –> 00:14:48.679
trailer for back rooms was just released and

00:14:48.679 –> 00:14:51.379
I gotta say it looks pretty good Did you guys

00:14:51.379 –> 00:14:54.899
see it at all? I? Saw I think the teaser of it

00:14:54.899 –> 00:14:56.879
not long ago, but I don’t know if that’s the

00:14:56.879 –> 00:15:00.360
same trailer They’ve released like a long one.

00:15:00.360 –> 00:15:02.779
Yeah, it’s worth checking out. It’s um, you know,

00:15:02.879 –> 00:15:06.919
honestly, I I like the vibe of the YouTube videos,

00:15:06.940 –> 00:15:09.080
but I was never really like that captured by

00:15:09.080 –> 00:15:11.779
him So I wasn’t sure what to expect of the film

00:15:12.009 –> 00:15:14.590
But the trailer made me actually think it’s going

00:15:14.590 –> 00:15:16.470
to be pretty good, I think. So that’s going to

00:15:16.470 –> 00:15:18.269
be on the show notes as well. So feel free to

00:15:18.269 –> 00:15:19.629
go check out the trailer if you haven’t already

00:15:19.629 –> 00:15:23.590
seen it. And that is Backrooms. It’s written

00:15:23.590 –> 00:15:27.470
by Will Sudick and Cain Parsons, directed by

00:15:27.470 –> 00:15:31.149
Cain Parsons, starring Lukita Maxwell, Renata

00:15:31.149 –> 00:15:34.509
Rensv… Sorry if I butchered that. Finn Bennett

00:15:34.509 –> 00:15:37.870
of True Detective and A Night of Seven Kingdoms

00:15:37.870 –> 00:15:43.220
and Warfare fame. And Renata Rensv… Hmm. Sorry

00:15:43.220 –> 00:15:45.379
about that name was in sentimental value, which

00:15:45.379 –> 00:15:48.600
I believe was nominated for an Oscar. So, you

00:15:48.600 –> 00:15:52.000
know that it’s got a good cast. It’s not being

00:15:52.000 –> 00:15:55.120
released till May 29th. But but keep your eye

00:15:55.120 –> 00:15:58.940
out. And this is the last little piece of news

00:15:58.940 –> 00:16:03.179
I have for the fans in this room. The Lost Boys

00:16:03.179 –> 00:16:06.580
musical, apparently getting rave reviews, previews

00:16:06.580 –> 00:16:10.940
sold out, apparently looks amazing to theater

00:16:10.940 –> 00:16:12.720
people. Are you guys interested at all? Are you

00:16:12.720 –> 00:16:19.580
going to check it out? Kind of. I mean, because

00:16:19.580 –> 00:16:21.879
A, like I do like that movie and I do like theater,

00:16:21.960 –> 00:16:23.759
but I’m also really curious to see how some,

00:16:23.759 –> 00:16:25.600
you know, going from comics to movies and vice

00:16:25.600 –> 00:16:27.919
versa, how are they going to adapt that into

00:16:27.919 –> 00:16:31.379
a musical? You know, like if we’ve got, you know,

00:16:31.539 –> 00:16:34.340
topless, sexy saxophone player and we’ve got

00:16:34.340 –> 00:16:36.720
some sort of appearance by the actual Corey Feldman

00:16:36.720 –> 00:16:39.470
and his angels. I mean, right, you know, that’s

00:16:39.470 –> 00:16:41.769
open, though. I don’t think that they tapped

00:16:41.769 –> 00:16:44.990
Corey Feldman for this production. I would probably

00:16:44.990 –> 00:16:49.110
wager that. But I you know, it’s interesting.

00:16:49.230 –> 00:16:52.049
There’s kind of this trend of them remaking kind

00:16:52.049 –> 00:16:56.799
of or remaking, but adapting. horror movies into

00:16:56.799 –> 00:16:58.539
stage performances, because they just obviously

00:16:58.539 –> 00:17:00.639
have a Stranger Things one out right now that’s

00:17:00.639 –> 00:17:02.039
doing well. And then there’s the Harry Potter

00:17:02.039 –> 00:17:03.799
one, which isn’t really horror, but, you know,

00:17:03.899 –> 00:17:05.559
you’re I think we’re seeing a lot more of that

00:17:05.559 –> 00:17:06.940
crossover like what we were just talking about

00:17:06.940 –> 00:17:08.400
with the comic books. That’s yeah, they had a

00:17:08.400 –> 00:17:11.400
Beetlejuice. That’s right. Musical for a bit,

00:17:11.400 –> 00:17:13.440
which got really good reviews. Right, right.

00:17:13.579 –> 00:17:14.940
And I mean, I guess it’s nothing new. You got

00:17:14.940 –> 00:17:17.359
Phantom of the Opera, which has been done in

00:17:17.359 –> 00:17:22.440
every version. But that was originally a. musical

00:17:22.440 –> 00:17:25.039
right so like with Lost Boys it’s it’s one of

00:17:25.039 –> 00:17:28.180
my favorite movies but I don’t think it’s a spectacular

00:17:28.180 –> 00:17:30.599
horror movie like I don’t find it super scary

00:17:30.599 –> 00:17:33.559
no so so you look at Lost Boys and it’s more

00:17:33.559 –> 00:17:38.279
like about outsiders finding themselves and whatnot

00:17:38.279 –> 00:17:40.799
among other outsiders you know kids move to town

00:17:40.799 –> 00:17:43.079
with their mom so I think that’s what they’re

00:17:43.079 –> 00:17:49.109
probably yeah that’s really rich No, you’re right.

00:17:49.210 –> 00:17:51.430
You’re right. It’s a because a lot of these films

00:17:51.430 –> 00:17:54.589
that are, you know, being turned into Broadway

00:17:54.589 –> 00:17:56.930
plays like they they’re they’re like, you’re

00:17:56.930 –> 00:17:58.789
right. They’re like a little horror light, you

00:17:58.789 –> 00:18:00.390
know, horror Jason. Like, I’m curious if they

00:18:00.390 –> 00:18:03.250
would ever do a job. I don’t know. Some more

00:18:03.250 –> 00:18:07.390
like hardcore horror, like a saw ravenous the

00:18:07.390 –> 00:18:09.369
musical. I mean, the soundtracks already. I’m

00:18:09.369 –> 00:18:11.509
sure they could. But I will say with Lost Boys

00:18:11.509 –> 00:18:15.549
for me personally, the bar is so high with the

00:18:15.549 –> 00:18:19.990
movie and the the soundtrack to it that I…

00:18:19.990 –> 00:18:21.970
Yeah, I feel like I would be disappointed by

00:18:21.970 –> 00:18:23.809
this. I was going to say, what’s the music like?

00:18:24.369 –> 00:18:26.529
I mean, that kind of makes or breaks everything.

00:18:26.549 –> 00:18:29.190
You know, I assumed it was a musical, but I guess

00:18:29.190 –> 00:18:31.569
it occurred to me now that I’m not 100 % sure

00:18:31.569 –> 00:18:34.170
there are musical numbers. I think it probably

00:18:34.170 –> 00:18:37.069
is. I think it is. Black Box Theater, like in

00:18:37.069 –> 00:18:39.230
small… No, no, it’s Broadway. Art House. Well,

00:18:39.230 –> 00:18:40.490
I mean, it might be a small theater in Broadway.

00:18:40.609 –> 00:18:43.490
I actually don’t know what denotes Broadway versus…

00:18:43.490 –> 00:18:46.000
I think Broadway… Implies a certain budget

00:18:46.000 –> 00:18:49.559
level right? It’s not actually the location There’s

00:18:49.559 –> 00:18:54.299
something we need a theater expert on But who

00:18:54.299 –> 00:18:57.000
knows maybe it is good maybe it’s it’s fun if

00:18:57.000 –> 00:19:00.980
you detach yourself from the original Yeah, well,

00:19:00.980 –> 00:19:03.619
I mean it’s funny cuz fans that react one of

00:19:03.619 –> 00:19:06.160
two ways You’re in the latter category, but there’s

00:19:06.160 –> 00:19:08.079
these are the fans that are like anything That’s

00:19:08.079 –> 00:19:10.119
released in that world to go see and then there

00:19:10.119 –> 00:19:11.640
are fans that are like if you release anything

00:19:11.640 –> 00:19:13.700
and ruin this memory for me I will kill you.

00:19:13.880 –> 00:19:16.880
Well, I mean to be fair that the Lost Boys sequels

00:19:16.880 –> 00:19:19.799
were not great I first time I knew there was

00:19:19.799 –> 00:19:22.940
a sequel to be honest Well, there was the lost

00:19:22.940 –> 00:19:25.859
girls script, which actually was fantastic that

00:19:25.859 –> 00:19:29.599
never got made and it should have But the the

00:19:29.599 –> 00:19:32.259
sequels to it just like and then we should track

00:19:32.259 –> 00:19:35.869
that down and try to get made Well, I mean, it’s

00:19:35.869 –> 00:19:40.650
you don’t have. Yeah. All right. Well, did you

00:19:40.650 –> 00:19:42.349
also have a news item you wanted to share up

00:19:42.349 –> 00:19:47.210
here? No, I mean, I can share this because it’s

00:19:47.210 –> 00:19:50.970
it’s news, but I already forgot the name of the

00:19:50.970 –> 00:19:54.410
director. It’s the director of I Saw the TV Glow

00:19:54.410 –> 00:19:59.150
has been tapped to do the They Live remake. Jane.

00:20:00.220 –> 00:20:02.640
I don’t have it in front of me. I actually enjoyed

00:20:02.640 –> 00:20:07.019
the the the TV club movie. I mean, it was it

00:20:07.019 –> 00:20:10.140
was fine. It was like a mood piece. Yeah. I mean,

00:20:10.160 –> 00:20:12.640
it was obviously low budget. And but I think

00:20:12.640 –> 00:20:14.519
they that’s the thing about low budget is you

00:20:14.519 –> 00:20:17.660
kind of have to lean into the difference. You

00:20:17.660 –> 00:20:20.019
know what I mean? Like the the uniqueness of

00:20:20.019 –> 00:20:21.339
your project. And I think they did a good job

00:20:21.339 –> 00:20:23.960
doing that. And Fred Durst was in it, which is

00:20:23.960 –> 00:20:26.460
right. That was the main reason to not watch

00:20:26.460 –> 00:20:30.119
it. Oh, you’re going to get some haters. No,

00:20:30.180 –> 00:20:32.319
you don’t know it unless you see it in the credits

00:20:32.319 –> 00:20:35.160
because he’s the dad behind the wheel of a car.

00:20:35.180 –> 00:20:37.940
And like I was like, wait, that was Fred Durst.

00:20:38.500 –> 00:20:40.680
I did. I did a movie with Fred Durst. Oh, yeah.

00:20:40.700 –> 00:20:44.039
Yeah. He was pretty funny. Yeah. I mean, like

00:20:44.039 –> 00:20:46.579
I got no beef with the man, other than I’m not

00:20:46.579 –> 00:20:48.980
a big fan of the music. But but you got I mean,

00:20:49.079 –> 00:20:52.759
they. You gotta respect, I guess, that they’re

00:20:52.759 –> 00:20:57.059
popular. I’ll just say he was better in it than

00:20:57.059 –> 00:21:01.859
I thought. Nice. What was the movie? Y2K. Ah,

00:21:01.920 –> 00:21:03.619
okay, he was in that. That’s right. Yeah. Well,

00:21:03.619 –> 00:21:06.299
it’s kind of a spoiler because he’s… You didn’t

00:21:06.299 –> 00:21:07.940
know he’s getting… I mean, he’s listed in the

00:21:07.940 –> 00:21:09.339
credits, so it can’t be that much of a spoiler,

00:21:09.339 –> 00:21:11.599
but he kind of makes an appearance towards the

00:21:11.599 –> 00:21:15.000
end. As himself or as a… Yeah, as himself.

00:21:15.119 –> 00:21:19.490
He helps save the world. Did I mean I didn’t

00:21:19.490 –> 00:21:21.009
know I wanted to see that movie, but I guess

00:21:21.009 –> 00:21:22.990
I do know yeah, that’s the next thing Yeah, is

00:21:22.990 –> 00:21:24.869
that out or is it coming out soon? Yeah, it’s

00:21:24.869 –> 00:21:27.230
been out. Yeah. Okay. See I’m behind a little

00:21:27.230 –> 00:21:29.390
bit. It’s probably I think it’s all right It’s

00:21:29.390 –> 00:21:32.509
on streaming on HBO. Yeah, whatever whatever

00:21:32.509 –> 00:21:35.869
they call HBO now right on right on That’s cool.

00:21:35.910 –> 00:21:39.769
Well, thanks for Thanks for that. And did you

00:21:39.769 –> 00:21:43.170
tap it? You’re good. Okay Well, we got a few

00:21:43.170 –> 00:21:46.839
movies dropping this week The first one is Hunting

00:21:46.839 –> 00:21:49.339
Matthew Nichols, which is written by Sean Harris

00:21:49.339 –> 00:21:55.640
Oliver and Macklin Taraseuk. I’m sorry, Markian

00:21:55.640 –> 00:21:58.579
Taraseuk, who’s also the director and also one

00:21:58.579 –> 00:22:00.440
of the actors. Sorry, I didn’t get your name

00:22:00.440 –> 00:22:03.660
right there, but it also stars Miranda McDougal,

00:22:03.660 –> 00:22:09.180
along with Markian and Christine Wills. And the

00:22:09.180 –> 00:22:11.359
premise of this is that after two decades, after

00:22:11.359 –> 00:22:13.279
her brother mysteriously disappeared on Vancouver

00:22:13.279 –> 00:22:16.190
Island, a documentary filmmaker, Sets out to

00:22:16.190 –> 00:22:18.930
solve his missing persons case. When a disturbing

00:22:18.930 –> 00:22:20.950
piece of evidence is revealed, she comes to believe

00:22:20.950 –> 00:22:24.410
he might still be alive. And, uh, this is billed

00:22:24.410 –> 00:22:28.410
as a horror thriller. So, um, I’m curious about

00:22:28.410 –> 00:22:30.630
it. Uh, the trailer looks great. That’ll be on

00:22:30.630 –> 00:22:32.809
the show notes as well. Again, that’s hunting

00:22:32.809 –> 00:22:36.950
Matthew Nichols. And then also this week is,

00:22:36.970 –> 00:22:39.170
and this week is, uh, I should mention that this

00:22:39.170 –> 00:22:42.109
is April 10th that I’m talking about. That weekend

00:22:42.109 –> 00:22:44.809
and there’s another thriller called newborn coming

00:22:44.809 –> 00:22:46.950
out which is written directed by Nate Parker

00:22:46.950 –> 00:22:51.470
and it stars Aidan Stocks Matthew Milray and

00:22:51.470 –> 00:22:58.470
Barry Pepper and this one is about so The logline

00:22:58.470 –> 00:23:01.049
is after serving seven years in solitary confinement

00:23:01.049 –> 00:23:03.529
Chris newborn seeks to rebuild his life and reconnect

00:23:03.529 –> 00:23:05.910
with his family only to find out that freedom

00:23:05.910 –> 00:23:08.509
has become a terrifying psychological battleground

00:23:08.509 –> 00:23:11.569
Are you guys familiar with either of these? Not

00:23:11.569 –> 00:23:13.630
at all, no, but I’m curious. Especially, you

00:23:13.630 –> 00:23:14.910
said Barry Pepper, and I was like, I haven’t

00:23:14.910 –> 00:23:17.809
heard his name in a while. That’d be neat. What’s

00:23:17.809 –> 00:23:20.569
Barry Pepper from? I think it’s the guy that

00:23:20.569 –> 00:23:22.910
was in the Suicide Squad, right? Wasn’t he a

00:23:22.910 –> 00:23:26.130
crocodile? Killer Croc? That sounds right. I’m

00:23:26.130 –> 00:23:27.269
pretty sure it was Killer Croc. Yeah, that’s

00:23:27.269 –> 00:23:30.170
the last thing I can picture him in. Sounds like

00:23:30.170 –> 00:23:32.130
it’s been a while. The trailer for this also

00:23:32.130 –> 00:23:33.849
looks kind of good, and that’ll also be on the

00:23:33.849 –> 00:23:36.309
show notes, so I’m curious to check them both

00:23:36.309 –> 00:23:38.380
out. I’m, you know… It’s hard for me to get

00:23:38.380 –> 00:23:41.700
to this that many films in a week. But, you know,

00:23:41.700 –> 00:23:43.200
and if I get a chance, I’m going to I’m going

00:23:43.200 –> 00:23:46.759
to check them out for sure. And the last thing

00:23:46.759 –> 00:23:48.740
I want to mention that’s about that’s coming

00:23:48.740 –> 00:23:52.400
out, I guess, is Pluto TV announced that they’re

00:23:52.400 –> 00:23:57.420
doing this April ghouls day celebration. And

00:23:57.420 –> 00:23:59.160
so it’s the beginning of April when we’re recording

00:23:59.160 –> 00:24:01.200
this. And I guess all month long they’re doing

00:24:01.200 –> 00:24:04.680
a celebration of horror on Pluto TV with films,

00:24:04.980 –> 00:24:08.759
including Hellraiser. One through ten. There’s

00:24:08.759 –> 00:24:11.500
ten hell raisers. There’s probably more. Holy

00:24:11.500 –> 00:24:14.279
Christ. Children of the Corn one through nine.

00:24:14.599 –> 00:24:17.099
Paranormal Activity one through six. Friday the

00:24:17.099 –> 00:24:20.279
13th, one through eight. And Scream one through

00:24:20.279 –> 00:24:23.039
three, as well as series such as The X -Files,

00:24:23.359 –> 00:24:25.480
Ghost Whisperer, Charmed, The Twilight Zone,

00:24:25.619 –> 00:24:29.119
Twin Peaks and Dark Shadows. So lots of good

00:24:29.119 –> 00:24:31.700
horror content for free on Pluto TV. If you want

00:24:31.700 –> 00:24:33.960
to go check it out. I like that. April Ghouls.

00:24:34.059 –> 00:24:38.259
April Ghouls. Clever. Yeah, yeah. All right,

00:24:38.299 –> 00:24:41.400
I guess that brings us to our main conversation

00:24:41.400 –> 00:24:43.519
today which is gonna be really fun and I’m really

00:24:43.519 –> 00:24:46.880
excited for personally because we get to pick

00:24:46.880 –> 00:24:51.019
the brain of a very old friend of Peter and I’s

00:24:51.019 –> 00:24:55.160
Elliot Thompson who is a Emmy nominated sound

00:24:55.160 –> 00:24:59.900
mixer and Well, we should probably let him describe

00:24:59.900 –> 00:25:01.240
what he does because I’m probably not gonna get

00:25:01.240 –> 00:25:04.059
it right But Peter do you want to take it away?

00:25:05.099 –> 00:25:08.960
Yeah, Elliot. Hey, thank you for joining us.

00:25:09.119 –> 00:25:13.140
No problem Um, so I know I guess let’s get into

00:25:13.140 –> 00:25:16.720
how you got into like all things post -production

00:25:16.720 –> 00:25:21.160
sound Alright, so I I work in post -production

00:25:21.160 –> 00:25:26.099
sound I I sort of I mean I started off sort of

00:25:26.099 –> 00:25:29.900
doing Whatever I could because there’s many facets

00:25:29.900 –> 00:25:32.740
of post -production sound. There’s there’s effects

00:25:32.740 –> 00:25:35.339
editing. There’s dialogue editing. There’s fully

00:25:35.339 –> 00:25:40.140
recording, there’s location sound, and then there’s

00:25:40.140 –> 00:25:43.119
supervising sound editor where you’re recording

00:25:43.119 –> 00:25:47.660
ADR, and then there’s re -recording mixers who

00:25:47.660 –> 00:25:50.119
kind of mix all the elements together at the

00:25:50.119 –> 00:25:57.339
end. What I focus on now mostly is mixing dialogue

00:25:57.339 –> 00:26:03.589
and music and dialogue editing. And so that’s,

00:26:03.690 –> 00:26:08.710
and I do some ADR as well, recording or supervising,

00:26:09.349 –> 00:26:12.069
but yeah, so I mean, we can get into the specifics

00:26:12.069 –> 00:26:15.170
of what all those are if you want, but that’s

00:26:15.170 –> 00:26:17.910
sort of a simple rundown. That’s good. That’s

00:26:17.910 –> 00:26:20.589
helpful. Well, here’s a question that just occurred

00:26:20.589 –> 00:26:23.789
to me, Elliot, when you learn things, are you

00:26:23.789 –> 00:26:27.049
more of a visual learner or is it audio or like,

00:26:27.109 –> 00:26:29.529
cause I’m wondering like what propelled you to

00:26:29.529 –> 00:26:33.519
want to like do sound stuff? that’s a good question

00:26:33.519 –> 00:26:36.839
I actually do feel like I’m a visual learner

00:26:36.839 –> 00:26:42.259
which is funny so I don’t I don’t know if I if

00:26:42.259 –> 00:26:44.400
this were the 80s or something I don’t know if

00:26:44.400 –> 00:26:47.039
I would have gotten into sound design because

00:26:47.039 –> 00:26:49.099
I really enjoy I mean I though there’s always

00:26:49.099 –> 00:26:51.019
something visual about it because of the the

00:26:51.019 –> 00:26:56.339
screen but I like I like seeing the waveforms

00:26:56.339 –> 00:26:58.900
on the computer is a weird Weird thing to say

00:26:58.900 –> 00:27:01.059
but I yeah, I could see that as an editor. I

00:27:01.059 –> 00:27:06.900
done. Yeah, I and so For me that’s become such

00:27:06.900 –> 00:27:10.299
such a part of it. Although it’s good to sometimes

00:27:10.299 –> 00:27:13.619
not Not look at that and just listen and then

00:27:13.619 –> 00:27:16.700
some the you’ll you’ll you’ll end up often making

00:27:16.700 –> 00:27:19.819
better decisions when you do that, but I do Yeah,

00:27:19.819 –> 00:27:23.319
it’s funny that I do feel like I am visual a

00:27:23.319 –> 00:27:26.829
visual person. It’s I mean I could see how you’re

00:27:26.829 –> 00:27:29.470
using both senses, you know, one to help the

00:27:29.470 –> 00:27:33.210
other because. Yeah, they’re probably not entirely

00:27:33.210 –> 00:27:35.990
unrelated. Well, yeah, the idea, I think, is

00:27:35.990 –> 00:27:38.970
to for them to just click, you know, so they’re

00:27:38.970 –> 00:27:41.390
both they’re all one thing, you know. Yeah. Yeah.

00:27:41.390 –> 00:27:43.430
And, you know, there’s I think when you’re a

00:27:43.430 –> 00:27:45.869
visual learner, I mean, it’s almost more like

00:27:45.869 –> 00:27:48.529
that part of your brain, which is probably also

00:27:48.529 –> 00:27:51.150
the same part of the brain for audio. You know,

00:27:51.150 –> 00:27:52.710
it’s like the more creative part of your brain

00:27:52.710 –> 00:27:55.269
versus that kind of a more logical part, I think.

00:27:55.609 –> 00:27:59.089
I don’t know checks out to me. Yeah. Yeah. Yeah,

00:27:59.089 –> 00:28:03.369
no With all those like different I guess skills

00:28:03.369 –> 00:28:07.509
regarding because if you look at like IMDB the

00:28:07.509 –> 00:28:09.329
first thing you’ll see is like sound department

00:28:09.329 –> 00:28:13.630
and then you could do any one of those Is is

00:28:13.630 –> 00:28:16.029
there one that you gravitate towards the most

00:28:16.029 –> 00:28:20.410
that you prefer? Yeah, I actually like working

00:28:20.410 –> 00:28:23.869
with dialogue which is I’m probably in the minority

00:28:23.869 –> 00:28:30.720
as far as sound designers go But I just I like

00:28:30.720 –> 00:28:35.140
I like scripts. I like I like what they’re saying.

00:28:35.299 –> 00:28:38.079
And I like, you know, just recording music and

00:28:38.079 –> 00:28:40.380
stuff. I liked I always liked the recording,

00:28:40.400 –> 00:28:44.259
the voice, because I think it’s interesting sounding.

00:28:44.539 –> 00:28:48.579
Yeah. For lack of a better description. And I

00:28:48.579 –> 00:28:54.119
like making it sound. I know it just I feel like

00:28:54.119 –> 00:28:58.460
there’s When you’re cutting effects or doing

00:28:58.460 –> 00:29:00.420
that kind of sound design, it’s so abstract and

00:29:00.420 –> 00:29:04.779
it’s so subjective. But I feel like with dialogue,

00:29:04.940 –> 00:29:08.299
it’s much more objective. You want it to sound

00:29:08.299 –> 00:29:10.720
good. You don’t want it to sound off and all

00:29:10.720 –> 00:29:15.359
choppy and weird. I like that part. It’s kind

00:29:15.359 –> 00:29:16.940
of like doing crossword puzzles or something.

00:29:18.119 –> 00:29:20.819
It’s satisfying to me to get that right. Because

00:29:20.819 –> 00:29:23.720
usually I know that it’s right. I’m not guessing.

00:29:24.219 –> 00:29:28.019
Yeah, yeah, I get it as an editor. What I’m starting

00:29:28.019 –> 00:29:30.380
to realize because I, you know, a lot of the

00:29:30.380 –> 00:29:32.400
films and things I work on, we hand off the sound

00:29:32.400 –> 00:29:35.039
mix. In fact, I should probably mention that

00:29:35.039 –> 00:29:37.940
Elliott’s mixed every film I’ve ever directed.

00:29:38.940 –> 00:29:41.019
And, you know, so I usually have a professional

00:29:41.019 –> 00:29:43.759
like him do it. But lately, I’ve been doing more

00:29:43.759 –> 00:29:47.059
sound mixing on my own and also with the podcast,

00:29:47.220 –> 00:29:50.380
too, and really diving into how to make people’s

00:29:50.380 –> 00:29:52.440
voices sound good. And I realize it’s like a

00:29:52.440 –> 00:29:54.700
black box. It’s like a It’s way harder than it

00:29:54.700 –> 00:29:57.980
seems, actually. I have a much higher appreciation

00:29:57.980 –> 00:30:01.200
for dialogue editing than I did before. Yeah,

00:30:01.240 –> 00:30:04.220
no, it can be a pain for sure. Yeah. I mean,

00:30:04.299 –> 00:30:05.839
there’s because, you know, you just think like

00:30:05.839 –> 00:30:08.480
you’re talking, but, you know, there’s negative

00:30:08.480 –> 00:30:09.960
characteristics of the microphone you got to

00:30:09.960 –> 00:30:13.180
deal with. Right. And like, what goes into that?

00:30:13.839 –> 00:30:18.559
As far as like, how do you make, you know, like

00:30:18.559 –> 00:30:21.180
how you mix the dialogue for a film, I guess,

00:30:21.500 –> 00:30:25.920
like just a quick overview. Gosh, it’s like,

00:30:26.539 –> 00:30:28.680
it’s hard to do without explaining without getting

00:30:28.680 –> 00:30:31.660
into the technical parts, which won’t even make

00:30:31.660 –> 00:30:33.759
sense. And I probably won’t even explain correctly.

00:30:34.140 –> 00:30:37.099
But I mean, it’s a lot of it’s about perspective

00:30:37.099 –> 00:30:41.240
and intelligibility. And honestly, what makes

00:30:41.240 –> 00:30:44.579
sense story wise, you know, you know, whether

00:30:44.579 –> 00:30:47.619
someone’s supposed to sound further away than

00:30:47.619 –> 00:30:50.799
they are or, you know, what we’re focusing on.

00:30:51.319 –> 00:30:53.640
Think that’s just in sound design in general

00:30:53.640 –> 00:30:58.160
a lot of about sound is about perspective So

00:30:58.160 –> 00:31:01.299
no, you know even like we all do it all the time,

00:31:01.299 –> 00:31:04.299
you know, if we’ll be in like a crowded grocery

00:31:04.299 –> 00:31:06.079
store or something there’ll be noises happening

00:31:06.079 –> 00:31:09.700
everywhere, but you’re just focusing on One thing,

00:31:09.700 –> 00:31:11.940
you know one one for the person next to you talking

00:31:11.940 –> 00:31:15.460
about cereal or whatever And and we don’t even

00:31:15.460 –> 00:31:17.640
realize that we’re doing it. So, you know if

00:31:17.640 –> 00:31:21.440
you’re if you’re in a mix you’re not you know,

00:31:21.440 –> 00:31:24.220
it’s like if there’s a part of this you walk

00:31:24.220 –> 00:31:28.099
say that someone walks into a bar and That when

00:31:28.099 –> 00:31:30.579
you first walk in you hear everything in the

00:31:30.579 –> 00:31:32.539
bar You’re all the people talking and then and

00:31:32.539 –> 00:31:34.740
then they start and start up a conversation and

00:31:34.740 –> 00:31:37.720
then If say that conversation starts to get like

00:31:37.720 –> 00:31:40.420
a little serious, maybe there’s some tension

00:31:40.420 –> 00:31:44.000
you won’t even notice it but like a lot of that

00:31:44.000 –> 00:31:45.900
stuff in the background will disappear in a mix

00:31:45.900 –> 00:31:48.079
because You’re supposed to be focusing on what

00:31:48.079 –> 00:31:51.829
this person is saying And and like, but we do

00:31:51.829 –> 00:31:53.589
that in real life. That’s why we do it in the

00:31:53.589 –> 00:31:57.730
mix. And so and then when you don’t do it, suddenly

00:31:57.730 –> 00:32:01.210
you’re. It like even you don’t even think about

00:32:01.210 –> 00:32:02.970
it, but, you know, a director or something like,

00:32:03.170 –> 00:32:04.789
why am I hearing this guy in the background?

00:32:04.970 –> 00:32:07.029
That’s distracting. You know, but they didn’t

00:32:07.029 –> 00:32:09.009
say that when you first started off, when it

00:32:09.009 –> 00:32:12.109
was just like small talk and didn’t matter. So,

00:32:12.210 –> 00:32:15.369
yeah, I don’t know. Perspective. I honestly forgot

00:32:15.369 –> 00:32:17.250
what the question was, but I started to agree

00:32:17.250 –> 00:32:19.650
that you answered it perfectly. Yeah, that was.

00:32:20.000 –> 00:32:23.400
Well, here’s here’s one for you. A lot of people

00:32:23.400 –> 00:32:27.119
will say that, you know, if the visuals on a

00:32:27.119 –> 00:32:30.160
film aren’t the best, as long as it sounds good,

00:32:30.700 –> 00:32:34.299
that that matters more. Do you do you have thoughts

00:32:34.299 –> 00:32:38.960
on that and why that might be? I guess it’s a

00:32:38.960 –> 00:32:43.500
case by case basis. But I do think you can get

00:32:43.500 –> 00:32:47.329
away with. kind of off -putting visuals more

00:32:47.329 –> 00:32:49.950
than you can get away with off -putting sound.

00:32:50.869 –> 00:32:53.349
Obviously, if it’s part of the story for the

00:32:53.349 –> 00:32:55.009
sound to be off -putting at certain points, that’s

00:32:55.009 –> 00:33:00.990
great. But it’s just more forgiving. I feel like

00:33:00.990 –> 00:33:03.309
bad visuals are more forgiving than bad sound.

00:33:03.369 –> 00:33:07.569
Maybe that’s my personal opinion, but there’s

00:33:07.569 –> 00:33:10.069
something subconsciously irritating about bad

00:33:10.069 –> 00:33:11.849
sound in a movie because you don’t really think

00:33:11.849 –> 00:33:14.259
about it right away unless you’re… for some

00:33:14.259 –> 00:33:16.240
reason, just, you know, deciding to judge the

00:33:16.240 –> 00:33:18.720
sound. Just something about the movie is irritating.

00:33:19.019 –> 00:33:21.420
And that’s happened to me. And I go, wait, no,

00:33:21.500 –> 00:33:23.359
I think it’s this. I think the sound is bothering

00:33:23.359 –> 00:33:27.839
me. It’s often with like, you know, short films

00:33:27.839 –> 00:33:29.920
with low budgets or whatever, you know, which

00:33:29.920 –> 00:33:34.059
is understandable. But, yeah, so I guess I would.

00:33:34.279 –> 00:33:37.640
Yeah, it’s funny because, you know, as I’ve touched

00:33:37.640 –> 00:33:40.619
many aspects of filmmaking in my career and I

00:33:40.619 –> 00:33:44.940
often find. you know, you think that sound is

00:33:44.940 –> 00:33:47.339
would be simpler than the visuals and other aspects

00:33:47.339 –> 00:33:49.059
of filmmaking, but I find it’s actually one of

00:33:49.059 –> 00:33:53.539
the hardest things to, to like, um, when you

00:33:53.539 –> 00:33:56.500
really start diving into it, like it’s same with

00:33:56.500 –> 00:33:59.160
color correction. Actually, um, there’s just

00:33:59.160 –> 00:34:02.259
so much technical stuff that, you know, there’s

00:34:02.259 –> 00:34:05.339
like, it’s, it’s simple on it and on its surface.

00:34:05.380 –> 00:34:08.510
Oh, it’s just sounds, but like really. There’s

00:34:08.510 –> 00:34:10.969
like no end to what you can do to those sounds

00:34:10.969 –> 00:34:13.730
Yeah, and and you don’t you don’t there’s a lot

00:34:13.730 –> 00:34:15.230
of stuff you don’t even think to put in there

00:34:15.230 –> 00:34:17.889
But for some and then it why does this feel weird?

00:34:18.090 –> 00:34:20.650
Yeah, because I didn’t put this one thing in

00:34:20.650 –> 00:34:23.030
there and yeah But I didn’t even think about

00:34:23.030 –> 00:34:26.510
that. Yeah Yeah, yeah, there’s there’s so much

00:34:26.510 –> 00:34:29.429
to it and in like people who are obsessed with

00:34:29.429 –> 00:34:32.170
sound I feel like they get really obsessed with

00:34:32.170 –> 00:34:35.289
it Probably. Yeah. Yeah, you know someone I think

00:34:35.289 –> 00:34:36.690
I was like a teacher or someone someone told

00:34:36.690 –> 00:34:40.460
me that As far as like sound versus picture,

00:34:40.780 –> 00:34:44.840
they said picture sound without picture is radio.

00:34:45.139 –> 00:34:48.380
And then picture without sound is just security

00:34:48.380 –> 00:34:53.139
footage. And like, you know, obviously that’s

00:34:53.139 –> 00:34:56.440
from a sound design teacher. So take the bias

00:34:56.440 –> 00:35:00.480
with that. But there’s some truth to that. You

00:35:00.480 –> 00:35:02.880
know, you don’t know what’s just obviously you

00:35:02.880 –> 00:35:04.900
can definitely have a silent movie, as we know.

00:35:04.900 –> 00:35:09.260
Right. But You it’s a lot easier to tell a story

00:35:09.260 –> 00:35:13.000
with just audio than it is with just picture

00:35:13.000 –> 00:35:15.920
I have personally I think so, but yeah, I know

00:35:15.920 –> 00:35:17.840
I mean you like you listen to a podcast without

00:35:17.840 –> 00:35:20.539
an image and You know, there are a lot of podcasts

00:35:20.539 –> 00:35:23.820
with images, but you never see a podcast With

00:35:23.820 –> 00:35:25.980
just images. Yeah, that’d be really exciting.

00:35:27.300 –> 00:35:30.699
I Don’t know I mentioned this last podcast this

00:35:30.699 –> 00:35:34.039
movie the tribe It’s like it’s I think from the

00:35:34.039 –> 00:35:36.980
Czech Republic and it’s all natural sound and

00:35:36.980 –> 00:35:40.179
it’s like deaf characters in wide shots and so

00:35:40.179 –> 00:35:43.860
it’s very challenging because you’re only really

00:35:43.860 –> 00:35:45.900
using your eyes to make sense of it so you don’t

00:35:45.900 –> 00:35:49.019
realize when you watch movies your ears are doing

00:35:49.019 –> 00:35:51.920
a lot of the work too. Yeah that sounds cool

00:35:51.920 –> 00:35:54.159
I would watch that movie. It’s it’s dark as fuck

00:35:54.159 –> 00:35:57.440
but it’s it’s uh it’s interesting because I didn’t

00:35:57.440 –> 00:35:59.659
anticipate it to be like wow this is this is

00:35:59.659 –> 00:36:03.619
challenging. Yeah. And I’d heard a quote, not

00:36:03.619 –> 00:36:05.739
exactly what you’re saying, but it’s I think

00:36:05.739 –> 00:36:10.539
it’s like art decorates space in music or sound

00:36:10.539 –> 00:36:13.119
decorates time. And I thought that was a an interesting

00:36:13.119 –> 00:36:15.679
way of putting that. Yeah, that is interesting.

00:36:15.679 –> 00:36:18.360
That’s cool. Yeah. Yeah. And this actually makes

00:36:18.360 –> 00:36:22.000
me think of Taffeta, you watching Primal and

00:36:22.000 –> 00:36:24.519
primal is a series in general. Yeah. You know,

00:36:24.579 –> 00:36:26.699
like because it’s basically all sound design.

00:36:26.760 –> 00:36:28.639
It is all sound. Have you seen that animated

00:36:28.639 –> 00:36:30.900
series? Yeah. It’s just a caveman going through

00:36:30.900 –> 00:36:33.369
time and dealing with caveman stuff. Oh, that

00:36:33.369 –> 00:36:35.429
sounds really familiar, actually. Yeah, it’s,

00:36:35.449 –> 00:36:38.110
uh, Genji, Genji Tarkovsky. Probably fucked that

00:36:38.110 –> 00:36:39.570
name up, but yeah, there’s three seasons and

00:36:39.570 –> 00:36:41.250
the last one just came out. Yeah. And it’s just

00:36:41.250 –> 00:36:45.269
all done with, uh, some grunting, some, you know,

00:36:45.349 –> 00:36:47.570
screams, but it’s all music and just sound design.

00:36:47.809 –> 00:36:50.050
It’s freaking amazing. That’s cool. So Elliot,

00:36:50.110 –> 00:36:52.289
why don’t we talk about some of the movies you’ve

00:36:52.289 –> 00:36:53.909
worked on? Cause you’ve worked on some, some

00:36:53.909 –> 00:36:57.530
really cool films. Would you say like Swiss army

00:36:57.530 –> 00:37:00.530
man is probably the most, the biggest film or?

00:37:02.199 –> 00:37:05.800
It wasn’t when I worked on it. Maybe by now it

00:37:05.800 –> 00:37:10.039
is just because of the Daniels. It’s still the

00:37:10.039 –> 00:37:14.559
most unique experience I’ve had in film. Probably

00:37:14.559 –> 00:37:18.659
one of the best experiences I’ve had. So yeah,

00:37:19.079 –> 00:37:21.619
I’m just happy to talk about that one. Yeah.

00:37:22.320 –> 00:37:24.519
Well, in addition to that, you want to just list

00:37:24.519 –> 00:37:26.860
a few of the ones that people might know at home?

00:37:27.630 –> 00:37:29.750
Particularly if you want to throw in some of

00:37:29.750 –> 00:37:31.710
your more horror thriller genre kind of film

00:37:31.710 –> 00:37:37.110
sure Well, we we did mention y2k earlier. I was

00:37:37.110 –> 00:37:39.070
I’d supervised the ADR on that and then I ended

00:37:39.070 –> 00:37:44.570
up mixing It along with some other people That

00:37:44.570 –> 00:37:46.329
is you know, it did kind of turn into a thriller.

00:37:46.329 –> 00:37:50.750
It was like a like a teen late 90s teen party

00:37:50.750 –> 00:37:53.570
movie that turned Thrillery horror. It never

00:37:53.570 –> 00:37:56.110
got too scary because it’s Kyle Mooney. So it’s

00:37:56.110 –> 00:38:01.300
funny, right? and Quick question about yeah,

00:38:01.380 –> 00:38:05.360
I have not seen it. But obviously you have Dean

00:38:05.360 –> 00:38:07.679
of because those are like teenagers right before

00:38:07.679 –> 00:38:11.340
y2k, right? Mm -hmm. Yeah. Yeah, we’re basically

00:38:11.340 –> 00:38:14.780
we’re we’re all of The age where we would have

00:38:14.780 –> 00:38:17.519
been their age when that happened. Yeah, it feel

00:38:17.519 –> 00:38:20.679
like you’re like this is did it read accurately

00:38:20.679 –> 00:38:23.500
to what you remember or it’s pretty accurate

00:38:23.500 –> 00:38:29.489
cuz cuz Kyle and And Evan was the other creator.

00:38:30.409 –> 00:38:33.210
They’re roughly our age. So they, I mean, they

00:38:33.210 –> 00:38:37.389
were, it was very personal for them. I’m trying

00:38:37.389 –> 00:38:39.130
to think of if there’s anything that I thought

00:38:39.130 –> 00:38:43.469
didn’t. Nah, there’s a lot of like, it was pretty

00:38:43.469 –> 00:38:46.090
accurate to me, honestly, like all the music

00:38:46.090 –> 00:38:49.289
choices and, you know, the sound wise, there

00:38:49.289 –> 00:38:53.920
wasn’t much to go on, you know, as far as. There

00:38:53.920 –> 00:38:59.400
was this whole scene at the beginning where he’s

00:38:59.400 –> 00:39:04.420
logging on to AOL and it took us forever to nail

00:39:04.420 –> 00:39:06.780
down the computer sounds of when he turned on

00:39:06.780 –> 00:39:12.280
the computer. The CD burner doesn’t sound right.

00:39:13.079 –> 00:39:18.269
He’s burning a mixed CD at the beginning. Right.

00:39:18.409 –> 00:39:20.349
I don’t know and then there was a part where

00:39:20.349 –> 00:39:22.769
there was a cd skipping none of us could decide

00:39:22.769 –> 00:39:26.190
none of us could agree like What a cd skipping

00:39:26.190 –> 00:39:29.250
sounds it’s hard to like recreate a cd skipping

00:39:29.250 –> 00:39:32.110
off memory. Yeah Yeah, even if you listen to

00:39:32.110 –> 00:39:34.650
what you try to it’s it’s such a specific sound

00:39:34.650 –> 00:39:37.670
you need to like actually scratch up a cd and

00:39:37.670 –> 00:39:41.130
yeah, I don’t know um, so yeah, that was I don’t

00:39:41.130 –> 00:39:43.670
know very y2k uh sound design that’s a really

00:39:43.670 –> 00:39:46.289
good point and then also like when you can hear

00:39:46.289 –> 00:39:48.269
the CD kind of hit the side of the tray or whatever

00:39:48.269 –> 00:39:51.610
it’s in, you know? Yeah, yeah, yeah. It’s the

00:39:51.610 –> 00:39:53.869
physical analog stuff. It’s like you can’t fake

00:39:53.869 –> 00:39:57.849
that as easy. What about boarding school? Yeah,

00:39:57.869 –> 00:40:00.909
I did boarding school. That was a while ago.

00:40:00.989 –> 00:40:03.329
So I was trying to like rack my brain thinking

00:40:03.329 –> 00:40:06.610
about that. I think the most I would say the

00:40:06.610 –> 00:40:09.030
most poignant memory I have from working on boarding

00:40:09.030 –> 00:40:17.079
school was sitting in a room with Boaz and going

00:40:17.079 –> 00:40:20.760
through all the takes of ADR, which included

00:40:20.760 –> 00:40:26.280
screams and cries. And, you know, I don’t that’s

00:40:26.280 –> 00:40:28.739
the only time I’ve done that with like a horror

00:40:28.739 –> 00:40:33.539
movie director. And and just it was interesting

00:40:33.539 –> 00:40:37.639
how he had an opinion on every scream and cry.

00:40:38.420 –> 00:40:41.260
You know, it’s like things that you you kind

00:40:41.260 –> 00:40:43.699
of think, oh, they screamed there. Move on. You

00:40:43.699 –> 00:40:47.920
know, but like No, I had to like we recorded

00:40:47.920 –> 00:40:50.440
a lot of screams. There’s anything that was happening

00:40:50.440 –> 00:40:54.960
off screen like cries and screams like he wanted

00:40:54.960 –> 00:40:58.119
a very specific rhythm to it’s like no this scream

00:40:58.119 –> 00:40:59.980
and then this scream and then this laugh and

00:40:59.980 –> 00:41:04.639
then this like like moving things frame. I was

00:41:04.639 –> 00:41:08.139
there all day doing that with him and like that’s

00:41:08.139 –> 00:41:10.119
the kind of thing like there’s no way I could

00:41:10.119 –> 00:41:12.719
have predicted what you know with a lot of stuff,

00:41:12.820 –> 00:41:17.389
you know. I think I have an idea of where, you

00:41:17.389 –> 00:41:20.170
know, to play stuff and which takes to pick,

00:41:20.369 –> 00:41:22.710
but when it came to that, I was just like, yeah,

00:41:22.710 –> 00:41:26.849
you tell me. So we sat there while we painstakingly

00:41:26.849 –> 00:41:29.090
went through each screen and like editing it,

00:41:29.269 –> 00:41:32.230
like cut off that last little shriek. I imagine

00:41:32.230 –> 00:41:33.989
every director you work with is a little bit

00:41:33.989 –> 00:41:36.670
different on either what they care about or how

00:41:36.670 –> 00:41:40.010
hands -on they are. Yeah, it’s wild how different

00:41:40.010 –> 00:41:45.079
they are. He I think Boaz and his last name Yakin.

00:41:45.780 –> 00:41:48.440
Is that sound right? Yeah, I don’t yeah, I never

00:41:48.440 –> 00:41:50.360
because he did call them by his last name So

00:41:50.360 –> 00:41:52.420
I just he did remember the tight like I don’t

00:41:52.420 –> 00:41:54.820
think he’s done much remember the titans. Yeah,

00:41:55.039 –> 00:41:57.559
that was my high school Yeah, tc williams tc

00:41:57.559 –> 00:41:59.619
williams, but he he’s done like all his movies

00:41:59.619 –> 00:42:02.559
are very different. So yeah Yeah, yeah to the

00:42:02.559 –> 00:42:04.539
listeners who’ve never heard of boarding school.

00:42:04.539 –> 00:42:06.219
It kind of slipped through the cracks came out

00:42:06.219 –> 00:42:09.519
in 2018 and it’s like this kid Who’s kind of

00:42:09.519 –> 00:42:12.440
strange ends up being sent to a boarding school

00:42:12.440 –> 00:42:15.360
and the tone of the movie or the characters Just

00:42:15.360 –> 00:42:18.139
it felt sort of like donnie darko meets lady

00:42:18.139 –> 00:42:20.440
in white. I highly recommend it because it’s

00:42:20.440 –> 00:42:23.760
just such an unusual Movie that I was enchanted

00:42:23.760 –> 00:42:25.340
by so when I saw that elliot worked on this.

00:42:25.340 –> 00:42:28.880
I was like, holy shit Yeah, it’s funny because

00:42:28.880 –> 00:42:33.219
I didn’t I didn’t know Who he was or anything?

00:42:33.219 –> 00:42:35.760
I was just I was just worried I was because I

00:42:35.760 –> 00:42:37.980
was like working on the dialogue and then I didn’t

00:42:38.119 –> 00:42:40.219
Like didn’t see the credits or anything and then

00:42:40.219 –> 00:42:42.619
I just yeah, I spent spent a day in a room with

00:42:42.619 –> 00:42:44.179
it I’m like that guy was interesting and I’m

00:42:44.179 –> 00:42:45.900
like, oh, yeah, I did all these things like I’m

00:42:45.900 –> 00:42:48.460
like, oh kind of big deal All right, you worked

00:42:48.460 –> 00:42:50.739
on a lot of things. I think are kind of notable.

00:42:50.760 –> 00:42:52.920
I might just list a few. That’s cool Yeah, go

00:42:52.920 –> 00:42:55.800
for it. Yeah, like well, honey boy since Shia

00:42:55.800 –> 00:42:58.840
LaBeouf’s in the news right now all the untold

00:42:58.840 –> 00:43:01.000
Sports documentaries on Netflix. I think you

00:43:01.000 –> 00:43:03.099
worked. Yeah. Yeah. Yeah, I do all those over

00:43:03.099 –> 00:43:05.820
Yeah, and then you also done other documentaries

00:43:05.820 –> 00:43:07.539
that I’m familiar with because I’m a documentary

00:43:07.769 –> 00:43:10.269
Person, but um, yeah, it comes to me in a good

00:43:10.269 –> 00:43:11.849
light, which was nominated for an Oscar this

00:43:11.849 –> 00:43:14.329
year, right? Yeah, I cut the dialogue on that.

00:43:14.329 –> 00:43:16.289
I didn’t I didn’t actually meet anyone that worked

00:43:16.289 –> 00:43:18.210
on that. But yeah, that was I was like, oh, okay,

00:43:18.329 –> 00:43:21.730
cool Yeah, and I actually it’s about a poet who

00:43:21.730 –> 00:43:24.769
I I had known in Boulder when I lived there.

00:43:24.809 –> 00:43:27.610
I was wondering Yeah, she’s she’s Colorado. Yeah.

00:43:27.630 –> 00:43:30.190
Yeah, I actually know her. I wouldn’t say I know

00:43:30.190 –> 00:43:35.389
them I guess They go by them now. I I don’t know

00:43:35.389 –> 00:43:38.400
them like we’ve met them a few times, but like

00:43:38.400 –> 00:43:41.960
only in passing, but like kind of swam in the

00:43:41.960 –> 00:43:44.420
same circles, you know, seen them perform a number

00:43:44.420 –> 00:43:46.539
of times. But it was a great film. I really enjoyed

00:43:46.539 –> 00:43:49.760
that one. But your Emmy nomination was for Wild

00:43:49.760 –> 00:43:52.360
Wild Country. Mm hmm. And you were gracious enough

00:43:52.360 –> 00:43:54.280
gracious enough to bring me to the party for

00:43:54.280 –> 00:43:57.320
at Ted Sarando’s house or whatever. I forgot.

00:43:57.500 –> 00:43:59.440
Yeah, I did take you to that. It was so fun.

00:43:59.679 –> 00:44:01.400
All the like Stranger Things kids running around

00:44:01.400 –> 00:44:04.380
and whatnot. I feel fortunate to have worked

00:44:04.380 –> 00:44:10.400
on that. Like I I know I’m not unaware that my

00:44:10.400 –> 00:44:12.920
nomination had a lot to do with just the popularity

00:44:12.920 –> 00:44:16.179
of that documentary. But I also know that we

00:44:16.179 –> 00:44:17.900
worked really, really hard on that. So I don’t

00:44:17.900 –> 00:44:19.880
feel too bad. But that was a good year. That

00:44:19.880 –> 00:44:21.500
was a good year to get nominated. That was some

00:44:21.500 –> 00:44:23.820
fun parties. It was like the last Game of Thrones

00:44:23.820 –> 00:44:27.320
and a bunch of. Oh, yeah, that’s right. And then

00:44:27.320 –> 00:44:30.539
I mean, at the party itself, I think there was

00:44:30.539 –> 00:44:33.559
like Queer Eye guys were there. Diane Keaton

00:44:33.559 –> 00:44:35.469
was there. Diane Keaton. That’s right. Yeah,

00:44:35.469 –> 00:44:39.090
that was wild. And man, what a house. That place

00:44:39.090 –> 00:44:41.489
was incredible. I know, it’s probably his guest

00:44:41.489 –> 00:44:45.730
house. Right, totally. And you also did Mystery

00:44:45.730 –> 00:44:47.550
Science Theater, which I was a huge fan of the

00:44:47.550 –> 00:44:49.650
first run of. And you did the second run, I think,

00:44:49.730 –> 00:44:52.909
right? Yeah, yeah. I mixed that. That’s cool.

00:44:53.590 –> 00:44:56.409
Robot Chicken. Bojack Horseman. Got some animation.

00:44:57.610 –> 00:44:59.889
Yeah, I worked on a little bit of Robot Chicken.

00:45:00.090 –> 00:45:02.550
Of course, our friend Dylan Markey was one of

00:45:02.550 –> 00:45:05.570
the main animators for that show. Yeah, he’s

00:45:05.570 –> 00:45:07.510
so rad. We should do an episode of Stop Motion

00:45:07.510 –> 00:45:09.570
with Dylan. That’d be so fun. Yeah, absolutely.

00:45:09.670 –> 00:45:11.489
Yeah, you should. You’ll have to stream it with

00:45:11.489 –> 00:45:14.269
him from Prague, but he will happily do that.

00:45:15.210 –> 00:45:19.130
Elliot, here’s a question. With sound design,

00:45:20.829 –> 00:45:23.469
Like from what I know of it, you know, you see

00:45:23.469 –> 00:45:25.309
things on YouTube and it’s like alright I got

00:45:25.309 –> 00:45:29.010
to create footsteps or certain sounds like what

00:45:29.010 –> 00:45:31.250
are some of the craziest sounds you’ve had to

00:45:31.250 –> 00:45:34.150
like Create whether the sounds not crazy, but

00:45:34.150 –> 00:45:37.750
you had to do something very unexpected Does

00:45:37.750 –> 00:45:41.150
anything come to mind with that? One of the my

00:45:41.150 –> 00:45:44.449
first projects that I’ve ever That I ever did

00:45:44.449 –> 00:45:47.559
was was back when I was in Because I went to

00:45:47.559 –> 00:45:49.440
end up going to grad school for sound design.

00:45:50.960 –> 00:45:53.980
And it was my friend Adam’s short film. It’s

00:45:53.980 –> 00:45:56.820
called The Bicycle. And there was no dialogue

00:45:56.820 –> 00:45:59.679
in it. There was just and he recorded it without

00:45:59.679 –> 00:46:02.139
sound. And I ended up using it as like my kind

00:46:02.139 –> 00:46:04.059
of thesis project in school. So it’s perfect

00:46:04.059 –> 00:46:06.179
for me. There’s some voiceover. But then like

00:46:06.179 –> 00:46:08.960
because he wanted to do it cheaply, he just like

00:46:08.960 –> 00:46:10.780
it looked beautiful. But he’s like, here you

00:46:10.780 –> 00:46:13.840
go, but make some sounds. So there’s a voice

00:46:13.840 –> 00:46:15.340
like telling you like, and then this happened

00:46:15.340 –> 00:46:20.079
and this happened. But I had to recreate all

00:46:20.079 –> 00:46:24.539
the sounds, which was fun because I got to like

00:46:24.539 –> 00:46:28.000
I realized I could make the bike sound however

00:46:28.000 –> 00:46:31.820
it wanted. So like there was a part where the

00:46:31.820 –> 00:46:34.460
guy threw the bike away and I was like trying

00:46:34.460 –> 00:46:37.440
to make it like I took my bike and I was like

00:46:37.440 –> 00:46:39.519
making it squeak kind of in ways where it sounded

00:46:39.519 –> 00:46:42.099
like it was kind of whimpering and things like

00:46:42.099 –> 00:46:46.260
that. It’s not I guess it’s Using a bike to make

00:46:46.260 –> 00:46:48.840
a bike sounds is not that weird, but it was it

00:46:48.840 –> 00:46:50.940
was it was fun to be like giving a personality

00:46:50.940 –> 00:46:54.099
and emotion Yeah, yeah, it’s like anthropomorphic

00:46:54.099 –> 00:46:57.119
size if I said that word correctly a bicycle

00:46:57.119 –> 00:47:00.239
like using its own sort of like Squeaks and sounds

00:47:00.239 –> 00:47:02.500
though. I you know, it’s funny. I was like great

00:47:02.500 –> 00:47:03.920
This is what sound design is gonna be like this

00:47:03.920 –> 00:47:06.739
is gonna be so much fun and then like I rarely

00:47:06.739 –> 00:47:09.460
get to be that creative unfortunately, but yeah

00:47:09.460 –> 00:47:12.360
Elliot mixed My first documentary which I believe

00:47:12.360 –> 00:47:14.500
is right after you got out of school, right?

00:47:15.150 –> 00:47:18.070
Yeah, that was like the first thing and so I

00:47:18.070 –> 00:47:19.889
think you showed me that that short back in the

00:47:19.889 –> 00:47:21.889
day And I remember being like stoked about it.

00:47:21.889 –> 00:47:24.110
It was good. Yeah, that was good. Yeah, that

00:47:24.110 –> 00:47:27.349
was what? 2012 -2013 something like that. Yeah.

00:47:27.590 –> 00:47:33.510
Wow, it’s been 14 years. Yeah, I Love a I feel

00:47:33.510 –> 00:47:35.030
like we have a long working relationship. That’s

00:47:35.030 –> 00:47:38.309
really great Yeah, so one thing that I tracking

00:47:38.309 –> 00:47:39.829
with on all the things that you’re saying is

00:47:39.829 –> 00:47:42.900
just how You know, for people not that familiar

00:47:42.900 –> 00:47:44.760
with the filmmaking process, they might assume

00:47:44.760 –> 00:47:48.320
that sound design and sound mixing is just like

00:47:48.320 –> 00:47:51.519
a thing that kind of like a part of the finishing

00:47:51.519 –> 00:47:54.139
process, but really you are also a storyteller.

00:47:55.860 –> 00:47:59.119
Yeah, I mean, sound is part of the story for

00:47:59.119 –> 00:48:04.920
sure. I mean, I think a lot of it is sort of

00:48:04.920 –> 00:48:08.179
up to the director and in some circumstances

00:48:08.179 –> 00:48:11.719
the writer. You know, if it’s written into it,

00:48:12.119 –> 00:48:13.820
then obviously it’s going to be a big part. But

00:48:13.820 –> 00:48:17.420
I mean, the people originally making the film,

00:48:17.639 –> 00:48:20.179
they need to be thinking about it right away.

00:48:20.420 –> 00:48:23.039
Because, you know, if they’re not, they’re not

00:48:23.039 –> 00:48:24.420
going to hand it off to a sound designer and

00:48:24.420 –> 00:48:25.460
the sound designer is going to be like, hey,

00:48:25.480 –> 00:48:27.840
I added all this stuff to your film that I don’t

00:48:27.840 –> 00:48:29.780
know if you wanted. I believe you added a cat

00:48:29.780 –> 00:48:34.139
meow to one of my films. We knew each other well

00:48:34.139 –> 00:48:35.820
enough that I was going to try to… Did you

00:48:35.820 –> 00:48:37.420
know I’m into cats? I was so down with that.

00:48:37.679 –> 00:48:40.380
This this gets kind of into the writing, but

00:48:40.380 –> 00:48:43.079
I found this interesting because it’s not usually

00:48:43.079 –> 00:48:47.719
implemented so in a movie a match cut is usually

00:48:47.719 –> 00:48:50.719
a visual thing like if it’s Somewhat usually

00:48:50.719 –> 00:48:53.059
a headlight of a car and then you cut to like

00:48:53.059 –> 00:48:54.739
someone opening the refrigerator and the lights

00:48:54.739 –> 00:48:58.039
on but occasionally Someone will do that with

00:48:58.039 –> 00:49:00.400
sound you know if someone’s like brushing their

00:49:00.400 –> 00:49:03.159
teeth an electric toothbrush And then the sound

00:49:03.159 –> 00:49:06.380
is a buzz saw or something the transition yeah,

00:49:06.380 –> 00:49:09.530
that’s super fun Does that happen more often

00:49:09.530 –> 00:49:15.130
than one would think? Probably a lot of that

00:49:15.130 –> 00:49:20.409
stuff is Honestly like in editorial like the

00:49:20.409 –> 00:49:23.010
picture editorial they usually come up with that

00:49:23.010 –> 00:49:26.309
Sometimes as a sound designer, you know, like

00:49:26.309 –> 00:49:28.789
if you’re cutting effects again Like I’m not

00:49:28.789 –> 00:49:30.750
cutting effects as often but I’m right there

00:49:30.750 –> 00:49:33.730
like what I so I see people doing it They will

00:49:33.730 –> 00:49:35.989
come up with ideas and then like hey Is this

00:49:35.989 –> 00:49:37.789
cool? I noticed this works really well with the

00:49:37.789 –> 00:49:40.670
shots and then usually like the directors are

00:49:40.670 –> 00:49:42.809
all about it. But a lot of that stuff, I find

00:49:42.809 –> 00:49:46.550
the picture editors, they’ve already sort of

00:49:46.550 –> 00:49:48.469
come up with the idea and then maybe you just

00:49:48.469 –> 00:49:52.190
have better sound effects to use. But that’s

00:49:52.190 –> 00:49:54.809
another thing. I mean, I talked about directors

00:49:54.809 –> 00:49:57.210
thinking about sound, but yeah, editors for sure.

00:49:57.630 –> 00:50:01.030
I put sound design in everything I do. And I

00:50:01.030 –> 00:50:03.090
was going to be a question is like, how much

00:50:03.090 –> 00:50:07.269
of that? Do you keep or replace? How much like

00:50:07.269 –> 00:50:09.289
can you attribute like a percentage to like what

00:50:09.289 –> 00:50:12.110
editorial does versus what sound editorial does?

00:50:12.829 –> 00:50:17.010
It really depends on the project there are certain

00:50:17.010 –> 00:50:19.530
thing there’s certain projects certain directors

00:50:19.530 –> 00:50:26.289
that When they cut in sounds they put in Editors

00:50:26.289 –> 00:50:28.989
or directors whoever they put in so much thought

00:50:28.989 –> 00:50:31.989
into it and they’re so married quote to those

00:50:31.989 –> 00:50:35.039
sounds that you know, you really can’t do much.

00:50:35.539 –> 00:50:37.679
You’re like, well, that’s the sound. I can kind

00:50:37.679 –> 00:50:39.500
of like make it sound a little bit bigger or

00:50:39.500 –> 00:50:41.500
maybe it sound like a slightly better version

00:50:41.500 –> 00:50:45.619
of what they had in mind. You know, I know that

00:50:45.619 –> 00:50:50.079
Daniel Kwan of the Daniels, he’s very involved

00:50:50.079 –> 00:50:53.199
in sound design and he, you know, he spends a

00:50:53.199 –> 00:50:56.739
lot of time choosing sounds for certain things

00:50:56.739 –> 00:50:59.199
and then like that’s kind of, it’s not what it

00:50:59.199 –> 00:51:02.610
is, but like. It’s it’s already maybe 80 % of

00:51:02.610 –> 00:51:04.829
the way there and then there’s other directors

00:51:04.829 –> 00:51:08.989
or editors that They know it’s just placeholders.

00:51:08.989 –> 00:51:11.250
They’re like, yeah, yeah, but you want I put

00:51:11.250 –> 00:51:13.789
with you I’ll just that’s only there. So, you

00:51:13.789 –> 00:51:17.070
know, I want something there Right. So yeah,

00:51:17.070 –> 00:51:19.670
you guys you just have to know that’s like a

00:51:19.670 –> 00:51:22.690
good conversation to have Yeah, my limiting factor

00:51:22.690 –> 00:51:24.409
like you were saying is really just my sound

00:51:24.409 –> 00:51:27.750
library because you know, there’s you can have

00:51:27.849 –> 00:51:29.989
thousands of sounds and you don’t have the right

00:51:29.989 –> 00:51:32.429
sounds for what you want. And it’s and it’s hard

00:51:32.429 –> 00:51:34.429
to find because like knowing what to search for

00:51:34.429 –> 00:51:37.849
in the keys is like really hard. But so I know

00:51:37.849 –> 00:51:40.309
I personally appreciate when I get to work with

00:51:40.309 –> 00:51:44.170
a sound designer and they have like they know

00:51:44.170 –> 00:51:46.409
their library well and they know they have like

00:51:46.409 –> 00:51:48.909
ideas and they’ve got enough experience to like

00:51:48.909 –> 00:51:50.630
instantly know the right thing for the moment.

00:51:50.670 –> 00:51:53.670
So I appreciate that personally. But I could

00:51:53.670 –> 00:51:55.929
see how some directors might be a little more

00:51:55.929 –> 00:51:58.320
controlling over that. Yeah, it’s usually something

00:51:58.320 –> 00:52:00.360
that we’re like, well, I don’t know. I threw

00:52:00.360 –> 00:52:02.659
these sounds together and this makes me feel

00:52:02.659 –> 00:52:06.400
a certain way. I don’t want you to touch it kind

00:52:06.400 –> 00:52:10.480
of thing. Yeah. Weirdly, it’s like with comedy.

00:52:10.780 –> 00:52:13.460
I find that happens. There’ll be some really

00:52:13.460 –> 00:52:17.619
goofy, weird sound effect that doesn’t make sense.

00:52:17.780 –> 00:52:20.619
And they’re like, this made me laugh. And you’re

00:52:20.619 –> 00:52:24.960
like, I think in Y2K, there’s a scene where a

00:52:24.960 –> 00:52:27.480
guy like He’s rollerblading and then he falls

00:52:27.480 –> 00:52:29.260
and like breaks his neck or something like that.

00:52:29.340 –> 00:52:31.980
Um, and it’s just like, or he hits his head and

00:52:31.980 –> 00:52:35.420
the goofiest head hit on the ground. It’s not,

00:52:35.480 –> 00:52:37.960
and it’s not something that almost any sound

00:52:37.960 –> 00:52:39.780
designer would put in there because it just sounds.

00:52:40.139 –> 00:52:43.280
Kind of ridiculous, but it made them laugh and

00:52:43.280 –> 00:52:46.579
it was funny. And I remember, I think we like,

00:52:47.119 –> 00:52:50.809
I think the At first we tried to put in something

00:52:50.809 –> 00:52:52.769
slightly more realistic and they’re like, I’m

00:52:52.769 –> 00:52:55.030
not laughing now. And so, all right, we’ll put

00:52:55.030 –> 00:52:57.670
it back, you know? So it’s not just like, I’m

00:52:57.670 –> 00:53:00.429
sure that happens in like scarier movies too,

00:53:00.429 –> 00:53:03.750
right? Well, now I’m not scared anymore. I don’t

00:53:03.750 –> 00:53:07.289
care like what’s more realistic or what you think

00:53:07.289 –> 00:53:09.630
is better. It’s like, if I’m feeling the way

00:53:09.630 –> 00:53:11.969
I want to feel from a sound, then that’s the

00:53:11.969 –> 00:53:15.530
right sound. Right. It’s like subverting maybe

00:53:15.530 –> 00:53:19.099
expectations of it. For whatever reason, what

00:53:19.099 –> 00:53:21.820
you’re talking about made me think of those G

00:53:21.820 –> 00:53:25.260
.I. Joe PSAs that were… You know what I’m talking

00:53:25.260 –> 00:53:28.639
about? Yeah, I guess when it comes down to it,

00:53:29.920 –> 00:53:35.119
a sound is a performance. It’s like you could

00:53:35.119 –> 00:53:38.599
have different types of celery breaking that

00:53:38.599 –> 00:53:43.340
you use for bones breaking, but then all of a

00:53:43.340 –> 00:53:46.039
sudden you discover breaking a carrot… or something

00:53:46.039 –> 00:53:47.739
just as like a slightly different take on it

00:53:47.739 –> 00:53:50.079
and it so it’s like you know maybe it’s like

00:53:50.079 –> 00:53:51.639
directing an actor a little bit but you’re directing

00:53:51.639 –> 00:53:54.619
sounds yeah yeah yeah and honestly a lot a lot

00:53:54.619 –> 00:53:58.119
of it will come to oh we had 12 months in editorial

00:53:58.119 –> 00:54:00.360
and we have two weeks to do the sound so it’s

00:54:00.360 –> 00:54:04.179
like there’s a lot of time hopefully honestly

00:54:04.179 –> 00:54:07.559
we’ll spend an editorial finding why the scenes

00:54:07.559 –> 00:54:09.119
need to be scarier right because they’re not

00:54:09.119 –> 00:54:11.409
they don’t think the movie’s gonna be They’re

00:54:11.409 –> 00:54:13.050
not going to be a lock cut if they’re not the

00:54:13.050 –> 00:54:14.949
seem to that doesn’t feel scary and so like they’ll

00:54:14.949 –> 00:54:16.989
probably Go through all sorts of like trying

00:54:16.989 –> 00:54:18.250
to pick the right sound So that’s why it’s good

00:54:18.250 –> 00:54:20.110
to probably work with the sound designer ahead

00:54:20.110 –> 00:54:22.510
of time, right? You know, like well, I’m sure

00:54:22.510 –> 00:54:25.230
that would be incredible. Yeah, I know that’s

00:54:25.230 –> 00:54:28.230
tell me about it. Yeah Yeah, having one on staff

00:54:28.230 –> 00:54:31.190
like, you know, I’m like a editorial team would

00:54:31.190 –> 00:54:34.550
be really great I’ve never had that luxury ever

00:54:34.550 –> 00:54:36.989
at all the projects I’ve worked on so pretty

00:54:36.989 –> 00:54:40.980
rare. Yeah You could just briefly kind of touched

00:54:40.980 –> 00:54:44.239
on like horror is there anything because Chris

00:54:44.239 –> 00:54:49.300
and I Christopher and I just saw What? Undertone

00:54:49.300 –> 00:54:53.079
which is a horror movie that relies so much on

00:54:53.079 –> 00:54:56.960
its sound design and What about sound really

00:54:56.960 –> 00:55:00.000
like make something scary or what or how do you

00:55:00.000 –> 00:55:03.940
come up with? those scares Before I get into

00:55:03.940 –> 00:55:06.260
that, you know, it reminds me of the one when

00:55:06.260 –> 00:55:09.559
I saw I didn’t haven’t seen undertone But I’ve

00:55:09.559 –> 00:55:11.739
watched the trailer and I know about it. The

00:55:11.739 –> 00:55:15.679
first thing I thought of was this is the best

00:55:15.679 –> 00:55:20.679
way to make an effective horror movie cheaply.

00:55:21.360 –> 00:55:24.659
Like making something scary by sound is most

00:55:24.659 –> 00:55:28.059
likely way, way more affordable than making it

00:55:28.059 –> 00:55:32.239
scary visually. Right. Or with creatures or actors.

00:55:32.460 –> 00:55:34.719
Yeah. Yeah. Like anything on on picture. It’s

00:55:34.719 –> 00:55:38.110
like it’s just It’s way more affordable. I don’t

00:55:38.110 –> 00:55:41.349
I don’t um, I think I I don’t remember. I think

00:55:41.349 –> 00:55:42.989
I looked up the budget ton of time. I think it

00:55:42.989 –> 00:55:48.329
was pretty small. It’s 500 000. Yeah Which uh

00:55:48.329 –> 00:55:49.670
At first i’m like, well, it’s a ton of money.

00:55:49.670 –> 00:55:51.309
I’m like wait. No, it’s not it’s not anything.

00:55:52.630 –> 00:55:57.269
Um, uh, yeah, so Let’s think about how and then

00:55:57.269 –> 00:56:00.730
but so it’s it’s a smart way if if you’re if

00:56:00.730 –> 00:56:03.510
you You know don’t have a big budget and you

00:56:03.510 –> 00:56:07.219
don’t have access to Some sort of like affordable

00:56:07.219 –> 00:56:11.519
visual You know stimulating thing then sound

00:56:11.519 –> 00:56:15.820
is a great way To you know, make an effect tell

00:56:15.820 –> 00:56:18.300
an effective horror story. You see it a lot in

00:56:18.300 –> 00:56:21.039
video games actually. Oh, yeah Yeah, because

00:56:21.039 –> 00:56:23.199
the atmosphere is so I mean, you don’t have like

00:56:23.199 –> 00:56:25.079
a linear story So you’re creating atmosphere

00:56:25.079 –> 00:56:27.519
a lot of times or like jump scares or things

00:56:27.519 –> 00:56:31.289
to keep that Yeah, you know I so I had a feeling

00:56:31.289 –> 00:56:33.469
you asked me something like this and since I

00:56:33.469 –> 00:56:35.289
haven’t done a lot of actual sound design on

00:56:35.289 –> 00:56:40.349
horror movies I Did I asked my friend? Andrew

00:56:40.349 –> 00:56:42.849
twight who’s worked on a lot. He worked on my

00:56:42.849 –> 00:56:46.409
film currency. Oh, yeah Yeah, he did he did and

00:56:46.409 –> 00:56:49.429
he’s done like he did everything everywhere all

00:56:49.429 –> 00:56:51.469
at once and he did he’s done like the Megan movies

00:56:51.469 –> 00:56:55.050
and stuff like that He’s done a lot of horror

00:56:55.050 –> 00:56:59.340
related movies And he said something interesting

00:56:59.340 –> 00:57:03.360
about That horror that he said the the sound

00:57:03.360 –> 00:57:07.679
in horror is it’s like a Its own particular art.

00:57:07.679 –> 00:57:10.539
He said it’s it’s about like tension and release

00:57:10.539 –> 00:57:14.519
So, um, so it’s like it’s it’s like timing so

00:57:14.519 –> 00:57:17.139
he he does a lot of like bouncing and back and

00:57:17.139 –> 00:57:19.400
forth because this the score also does this right,

00:57:19.440 –> 00:57:22.679
right, but Um, so he’s like it’s really intertwined

00:57:22.679 –> 00:57:24.559
his his sound design indeed. He does like a lot

00:57:24.559 –> 00:57:28.510
of cool abstract stuff that really needs to be

00:57:28.510 –> 00:57:31.650
intertwined with the score. So, you know, things

00:57:31.650 –> 00:57:37.110
like, yeah, like, I think like one of the oldest

00:57:37.110 –> 00:57:39.489
tricks in the books is before something big and

00:57:39.489 –> 00:57:42.869
scary happens, make it get quiet, you know, sort

00:57:42.869 –> 00:57:48.250
of thing. Or, you know, you notice like if, I

00:57:48.250 –> 00:57:51.969
don’t know, if someone’s, if nothing scary is

00:57:51.969 –> 00:57:53.269
about to happen and someone’s walking around

00:57:53.269 –> 00:57:56.750
the house, You’re probably not gonna hear maybe

00:57:56.750 –> 00:58:00.510
a ton of creaks and stuff. But the second They’re

00:58:00.510 –> 00:58:03.530
like wait. What was that? It’s like all our all

00:58:03.530 –> 00:58:05.829
our senses get really heightened and so now you’re

00:58:05.829 –> 00:58:08.130
hearing like every little creak that’s happening

00:58:08.130 –> 00:58:11.630
right things like that and so like You’re like,

00:58:11.849 –> 00:58:14.170
well, what would someone whose senses those senses

00:58:14.170 –> 00:58:16.389
are very heightened be hearing they’d be hearing

00:58:16.389 –> 00:58:19.110
like little door creaks. They’d be hearing like

00:58:19.369 –> 00:58:22.329
Maybe like a fly buzzing around in the corner

00:58:22.329 –> 00:58:24.210
of the room breathing. Yeah, and then suddenly

00:58:24.210 –> 00:58:26.369
so now we’re and so then when something loud

00:58:26.369 –> 00:58:29.349
happens We’re all we get jolted would I also

00:58:29.349 –> 00:58:32.090
think you know what you’d said kind of made me

00:58:32.090 –> 00:58:35.989
realize you’re kind of priming someone’s imagination

00:58:35.989 –> 00:58:39.289
Because all right if the situation was all right

00:58:39.289 –> 00:58:41.210
There’s a ghost in this house that likes to sit

00:58:41.210 –> 00:58:44.110
in this rocking chair up in the room upstairs

00:58:44.110 –> 00:58:46.590
And someone’s walking around and they suddenly

00:58:46.590 –> 00:58:49.659
hear the rocking chair You’re gonna be like oh

00:58:49.659 –> 00:58:51.420
shit that goes to you know what I mean like it

00:58:51.420 –> 00:58:54.659
can set the stage for Suspense or you could look

00:58:54.659 –> 00:58:57.139
at like radio shows that are horror that you

00:58:57.139 –> 00:59:00.940
know They use a lot of sound design to kind of

00:59:00.940 –> 00:59:03.679
create that mood Because your imagination is

00:59:03.679 –> 00:59:06.019
good. What’s you know building the suspense in

00:59:06.019 –> 00:59:09.880
your head? Yeah, you know Peter and I just directed

00:59:09.880 –> 00:59:12.659
last call what you mixed and and when I was editing

00:59:12.659 –> 00:59:15.239
it is my first time ever editing a horror film

00:59:15.239 –> 00:59:19.380
and We got a couple Kind of jump scares in it

00:59:19.380 –> 00:59:22.679
I say kind of because you know we I know that

00:59:22.679 –> 00:59:24.539
I was learning how to edit them as we were going

00:59:24.539 –> 00:59:25.739
through it and we were learning how to shoot

00:59:25.739 –> 00:59:28.599
him and set him up and everything and and and

00:59:28.599 –> 00:59:31.920
I’ve just it occurred to me like how intentional

00:59:31.920 –> 00:59:34.760
you have to be about creating that suspense and

00:59:34.760 –> 00:59:38.480
release and and from the pre -production on but

00:59:38.480 –> 00:59:41.579
the the sound in particular was Really? I mean

00:59:41.579 –> 00:59:44.000
I worked on the the jump scares probably more

00:59:44.000 –> 00:59:49.590
than any other two seconds of, you know, of footage

00:59:49.590 –> 00:59:51.650
on anything I’ve worked on, just trying to get

00:59:51.650 –> 00:59:54.769
it right. It’s like, yeah, I mentioned it’s really

00:59:54.769 –> 00:59:57.750
difficult. Yeah. And, you know, the other thing,

00:59:57.869 –> 01:00:03.570
too, is is you were talking about how the heightened

01:00:03.570 –> 01:00:05.590
sense and everything it’s if there’s a certain

01:00:05.590 –> 01:00:08.309
oh, no, this is what it was. Sorry. You were

01:00:08.309 –> 01:00:09.610
talking about working closely with the score.

01:00:10.239 –> 01:00:12.119
And that’s the other thing, too, is when we started

01:00:12.119 –> 01:00:14.300
working with the composers, we had to kind of

01:00:14.300 –> 01:00:18.400
really think about what was being created in

01:00:18.400 –> 01:00:21.880
the score versus in the sound design. And, you

01:00:21.880 –> 01:00:23.420
know, you kind of have to sometimes dial back

01:00:23.420 –> 01:00:26.320
the sound design to allow the score in. And then

01:00:26.320 –> 01:00:28.500
the score can do some of that heavy lifting and

01:00:28.500 –> 01:00:31.659
vice versa, you know. So do you find that does

01:00:31.659 –> 01:00:33.659
compete often or like how do you deal with that

01:00:33.659 –> 01:00:36.179
in the mix? Yeah, I feel like they always compete

01:00:36.179 –> 01:00:46.590
for sure. And usually, score trumps sound design.

01:00:47.449 –> 01:00:49.929
Sometimes it’s warranted, sometimes maybe sound

01:00:49.929 –> 01:00:55.050
design might be better, but usually you’re paying

01:00:55.050 –> 01:01:02.409
more for a score. And like, they’re probably…

01:01:03.360 –> 01:01:05.300
It’s just good to have an open dialogue between

01:01:05.300 –> 01:01:08.599
the two, because I’ve seen cases where the composers

01:01:08.599 –> 01:01:12.340
annoy that there’s this weird tone that’s happening

01:01:12.340 –> 01:01:18.420
that they think conflicts with their score. Right,

01:01:18.539 –> 01:01:20.619
because a lot of times those have a note or something

01:01:20.619 –> 01:01:22.619
to it, and that note is not in the key or whatever.

01:01:22.800 –> 01:01:25.519
Yeah, exactly. And I’ve also seen situations

01:01:25.519 –> 01:01:29.889
where they’ll… There’ll be like a car chase

01:01:29.889 –> 01:01:32.130
or something and there’s a score happening and

01:01:32.130 –> 01:01:35.329
then for some reason they the like They’ve cut

01:01:35.329 –> 01:01:38.349
in like a car engine into the score or something.

01:01:38.949 –> 01:01:41.949
Yeah, but like wait what right? That’s so funny.

01:01:41.949 –> 01:01:43.550
It is a different car engine. So you like have

01:01:43.550 –> 01:01:45.789
to pick Yeah, I know like i’m sure like when

01:01:45.789 –> 01:01:47.250
they’re doing it though. That sounds great. There’s

01:01:47.250 –> 01:01:49.190
a car engine here That’s part of the score and

01:01:49.190 –> 01:01:51.409
then whoever is actually cutting the cars is

01:01:51.409 –> 01:01:53.210
like wait. Well, you’ve done some scoring too,

01:01:53.230 –> 01:01:57.030
right? Yeah, yeah, um a little bit. I feel like

01:01:57.030 –> 01:02:00.980
I do I do it for Friends and stuff. I don’t I

01:02:00.980 –> 01:02:04.960
would be I considered getting into composing

01:02:04.960 –> 01:02:09.619
for for film before sound design, but before

01:02:09.619 –> 01:02:12.159
I did sound design, but I just feel like it’s

01:02:12.159 –> 01:02:14.719
so subjective again, like what I was saying that

01:02:14.719 –> 01:02:18.360
and it’s I feel like you you really put a lot

01:02:18.360 –> 01:02:21.440
of like Emotional work into record and writing

01:02:21.440 –> 01:02:23.880
music so that if I if I wrote something and someone

01:02:23.880 –> 01:02:29.519
was like no I’d be hard not to be offended If

01:02:29.519 –> 01:02:31.719
someone says like I don’t like that footstep,

01:02:31.800 –> 01:02:34.039
I do not care. I’m like great Let’s get another

01:02:34.039 –> 01:02:36.440
footstep. But if someone’s like, no that piece

01:02:36.440 –> 01:02:40.619
no good. Okay, I’ll just throw it away You did

01:02:40.619 –> 01:02:44.440
Compose the the score to show and tell remember

01:02:44.440 –> 01:02:46.619
that yeah. Yeah. Yeah, and you you had it What

01:02:46.619 –> 01:02:48.880
is tough for those listening what show and tell

01:02:48.880 –> 01:02:52.550
was a? first short film I ever wrote that Joseph

01:02:52.550 –> 01:02:55.070
Patasol directed and it was basically about a

01:02:55.070 –> 01:02:57.769
kid who uh it’s show and tell when the teacher’s

01:02:57.769 –> 01:03:01.489
not there and there’s a substitute and the last

01:03:01.489 –> 01:03:03.650
thing that’s shown is is kind of horrifying I

01:03:03.650 –> 01:03:06.590
guess um but when you had started you you made

01:03:06.590 –> 01:03:08.309
it creepy and I was like no no no it’s good we

01:03:08.309 –> 01:03:10.889
don’t you came out the gate with the it being

01:03:10.889 –> 01:03:13.630
genre like oh yeah and but you were not offended

01:03:13.630 –> 01:03:15.929
you’re like oh yeah like it it seemed like a

01:03:15.929 –> 01:03:18.599
no yeah I didn’t I didn’t I feel like it was

01:03:18.599 –> 01:03:20.420
we added it on because i’d already done the sound

01:03:20.420 –> 01:03:22.639
design and then sort of go let’s throw in the

01:03:22.639 –> 01:03:27.460
score no, yeah, because um Yeah, that’s true.

01:03:27.460 –> 01:03:29.460
I was not offended by that Do you think that

01:03:29.460 –> 01:03:32.480
a lot of composers? Write in a vacuum where they

01:03:32.480 –> 01:03:35.179
like turn down all of the sound design and stuff

01:03:35.179 –> 01:03:37.139
or do they tend to write with the sound design

01:03:37.139 –> 01:03:41.440
there? I I can only imagine that they they don’t

01:03:41.440 –> 01:03:44.440
hear the sound design at all. I would I would

01:03:44.440 –> 01:03:47.619
think that they’re composing um They probably

01:03:47.619 –> 01:03:51.139
start composing before anyone does sound design.

01:03:51.800 –> 01:03:53.960
Yeah, that makes sense. Yeah. I mean, they’re

01:03:53.960 –> 01:03:57.139
at least coming up with ideas. Yeah, I feel like

01:03:57.139 –> 01:03:59.679
the, you know, the more experienced people are,

01:03:59.860 –> 01:04:03.360
the more everyone knows who everyone should be

01:04:03.360 –> 01:04:06.320
in contact with. And those are, you know, those

01:04:06.320 –> 01:04:09.820
are good to work on. Yeah, interesting. And I

01:04:09.820 –> 01:04:13.380
got a fun question for you. Yeah. How many Wilhelm

01:04:13.380 –> 01:04:16.320
screens have you put in any projects? Again,

01:04:16.500 –> 01:04:20.079
well, mmm. That’s did I not put one in any of

01:04:20.079 –> 01:04:23.239
your stuff? I might be Do you sneak them in is

01:04:23.239 –> 01:04:28.059
what Chris? Yeah, I’ve again like usually I’m

01:04:28.059 –> 01:04:30.639
sure I have I can’t think of anything off the

01:04:30.639 –> 01:04:35.159
top of my head. I love to Tell the person cutting

01:04:35.159 –> 01:04:38.460
effects to do that and then they tell me to shut

01:04:38.460 –> 01:04:43.679
up Yeah, it’s probably good that I don’t cut

01:04:43.679 –> 01:04:45.719
effects as much because I would be doing stupid

01:04:45.719 –> 01:04:49.860
stuff like that. Cats and screams. Yeah, I know.

01:04:50.719 –> 01:04:54.659
I’ve tried to get my cats in shows and I think

01:04:54.659 –> 01:05:00.260
that was the most offended I think I was. I worked

01:05:00.260 –> 01:05:02.320
on the show and there was a scene where it was

01:05:02.320 –> 01:05:06.739
like a cat best in show, all cats. Tried to get

01:05:06.739 –> 01:05:09.739
my cat’s meows in there and then the direct or

01:05:09.739 –> 01:05:11.800
the yeah, the producer was like, what was that

01:05:11.800 –> 01:05:15.260
one cat? That was weird. Let’s lose that. I’m

01:05:15.260 –> 01:05:21.280
like I Quit you just rage quit the session guy.

01:05:21.280 –> 01:05:24.079
They have no idea why like that’s Lafonda. Yeah,

01:05:24.099 –> 01:05:28.860
what do you mean? It was yeah. Oh Lafonda Yeah,

01:05:29.079 –> 01:05:31.780
any other well, you know, I think this maybe

01:05:31.780 –> 01:05:34.500
I’ll just pop in real quick to also mention that

01:05:35.110 –> 01:05:37.929
Elliott played music before he got into this

01:05:37.929 –> 01:05:40.110
in fact Peter and Elliott used to be in a band

01:05:40.110 –> 01:05:42.849
back in the day like 25 years ago or something

01:05:42.849 –> 01:05:47.510
Elliot still plays music That’s right Yeah, like

01:05:47.510 –> 01:05:50.269
more of a hobby. I guess at this point. Yeah.

01:05:50.429 –> 01:05:52.889
Yeah be a Peter nine We’re in a band in high

01:05:52.889 –> 01:05:57.210
school in the in the 1900s. Yeah last century

01:05:57.519 –> 01:06:02.000
last millennium And then you’re in a band after

01:06:02.000 –> 01:06:05.019
that and you have some projects now My favorite

01:06:05.019 –> 01:06:09.420
one is your Gregorian chant based project Yeah,

01:06:09.420 –> 01:06:12.840
I wouldn’t I wouldn’t know wouldn’t call it Gregorian

01:06:12.840 –> 01:06:15.840
chant, but it is it is medieval themed, you know

01:06:15.840 –> 01:06:19.780
funny enough someone Contacted us. They’re they’re

01:06:19.780 –> 01:06:23.239
making Like a video game for steam that’s coming

01:06:23.239 –> 01:06:28.900
out soon and it’s called bodega dungeon And it’s

01:06:28.900 –> 01:06:31.639
like a guy that just runs. It’s like very like

01:06:31.639 –> 01:06:35.139
pixelated, like kind of like old school guy that

01:06:35.139 –> 01:06:38.539
you basically run a bodega in a medieval dungeon.

01:06:38.599 –> 01:06:40.960
So you’re selling selling like potions and stuff.

01:06:41.619 –> 01:06:44.219
And there’s a whole genre of of like running

01:06:44.219 –> 01:06:47.400
stores. Yeah, I guess that’s part of that. And

01:06:47.400 –> 01:06:50.119
he’s like, can I can I use Carloman is the name

01:06:50.119 –> 01:06:53.300
of the group. It’s like, can I use. Can I use

01:06:53.300 –> 01:06:56.059
Carla man for this and I’m like, yeah sure go

01:06:56.059 –> 01:06:58.860
for it and so you didn’t charge him on it No,

01:06:58.920 –> 01:07:01.460
I said I might just buy the album from band camp

01:07:01.460 –> 01:07:04.019
and so you can get the high quality wave files

01:07:04.019 –> 01:07:08.539
and then and also just like Let people know that

01:07:08.539 –> 01:07:10.300
it’s Carla man. So he’s the thing where I guess

01:07:10.300 –> 01:07:14.099
you can buy like a You can buy a record at the

01:07:14.099 –> 01:07:16.519
bodega and put it on and listen to it. That’s

01:07:16.519 –> 01:07:19.199
really cool. So Yeah, that was pretty that’s

01:07:19.199 –> 01:07:21.380
pretty fun. You never know what weird when you

01:07:21.369 –> 01:07:24.369
When you like, you know, you you make some project

01:07:24.369 –> 01:07:26.670
like 10 years down the road someone might be

01:07:26.670 –> 01:07:29.329
interested in it for some reason. Yeah I also

01:07:29.329 –> 01:07:32.789
really dig uh, is it soft jets? Oh, yeah my my

01:07:32.789 –> 01:07:36.250
my yeah I have a little ambient music project

01:07:36.250 –> 01:07:38.690
that I do the friend of mine actually the same

01:07:38.690 –> 01:07:40.670
the the person who directed the bicycle that

01:07:40.670 –> 01:07:42.409
we’re talking about adam newstater. Oh, yeah

01:07:42.409 –> 01:07:45.489
He’s great. He did a well Maybe still working

01:07:45.489 –> 01:07:48.690
on a morrissey documentary Yeah, yeah, that’s

01:07:48.690 –> 01:07:51.309
that’s a long time going yeah, it’s a lot of

01:07:51.309 –> 01:07:54.269
twists and turns in the past Ironically you’re

01:07:54.269 –> 01:07:56.429
working on them more seed doc, but I think it’s

01:07:56.429 –> 01:07:59.369
it’s yeah, hopefully we’ll see the finish line

01:07:59.369 –> 01:08:01.130
soon There’s a lot of good interesting footage

01:08:01.130 –> 01:08:04.210
in there for sure and a moment of irony I I was

01:08:04.210 –> 01:08:11.869
hired to record sound on that one day You have

01:08:11.869 –> 01:08:14.530
done that exact job before, just with your own

01:08:14.530 –> 01:08:16.590
movies. Yeah, exactly. I record the sound of

01:08:16.590 –> 01:08:19.390
my own projects all the time, but I don’t claim

01:08:19.390 –> 01:08:25.829
to be a pro like Elliot. I do claim. Tavita,

01:08:25.890 –> 01:08:28.369
did you have questions for Elliot? No, I’m good.

01:08:28.390 –> 01:08:29.829
I think you guys covered a lot of it. It’s been

01:08:29.829 –> 01:08:31.909
interesting. Thank you. Yeah, no problem. Thanks

01:08:31.909 –> 01:08:34.590
for coming, man. I mean, I could honestly…

01:08:34.590 –> 01:08:36.390
I feel like we scratched the surface. We could

01:08:36.390 –> 01:08:39.819
dive into this, particularly… specific films

01:08:39.819 –> 01:08:41.199
and stuff you’ve worked on. Maybe we’ll have

01:08:41.199 –> 01:08:44.199
you back in the future. But thank you for taking

01:08:44.199 –> 01:08:48.460
the time. No, I think we covered all the things

01:08:48.460 –> 01:08:51.319
I was thinking about. Awesome, man. Hopefully

01:08:51.319 –> 01:08:53.260
that made sense. Oh, you made perfect sense.

01:08:54.680 –> 01:08:57.340
And we’re going to, you know, maybe before we

01:08:57.340 –> 01:08:59.079
start the next project, I’ll pick your brain

01:08:59.079 –> 01:09:02.380
about, you know, how to really think about sound

01:09:02.380 –> 01:09:04.609
from the beginning. You know to incorporate it

01:09:04.609 –> 01:09:06.550
because I think yes. Yes, definitely think about

01:09:06.550 –> 01:09:08.369
it. Don’t don’t don’t just like wait till the

01:09:08.369 –> 01:09:11.289
end and be like, oh wait Maybe we’ll maybe sound

01:09:11.289 –> 01:09:13.930
will save our movie. Don’t try to avoid that.

01:09:13.930 –> 01:09:16.689
Yeah. Yeah, totally Totally. All right. Well,

01:09:16.689 –> 01:09:19.210
uh, thanks a lot. Um, has anyone got any fun

01:09:19.210 –> 01:09:27.050
plans for the week? Jesus I Do I do I yeah, well,

01:09:27.050 –> 01:09:30.210
I know i’m gonna watch um Something very bad’s

01:09:30.210 –> 01:09:33.270
gonna happen. Is that what it’s called? something

01:09:33.500 –> 01:09:36.319
Very bad. Yeah, it’s a really long title. Yeah,

01:09:36.319 –> 01:09:38.220
I want to check that out. I’m going to I’m going

01:09:38.220 –> 01:09:42.220
to watch that for sure this week. And I’m going

01:09:42.220 –> 01:09:47.380
to Florida, which speaking of we may or may not

01:09:47.380 –> 01:09:50.539
take a break for a week if we can’t figure out

01:09:50.539 –> 01:09:53.699
how best to record from from a distance. But

01:09:53.699 –> 01:09:56.420
one little piece of housekeeping that we have

01:09:56.420 –> 01:09:58.260
is that our film Last Call, which we’ve talked

01:09:58.260 –> 01:10:00.300
about a number of times on here, including today,

01:10:00.699 –> 01:10:03.909
will be premiering at the International Horror

01:10:03.909 –> 01:10:06.949
and Sci -Fi Film Festival, which is a mini festival

01:10:06.949 –> 01:10:10.329
inside of the Phoenix Film Festival, and that

01:10:10.329 –> 01:10:12.949
is premiering on April 10th. And anyone in the

01:10:12.949 –> 01:10:16.289
Phoenix area who is listening to this, feel free

01:10:16.289 –> 01:10:19.029
to go check it out. In fact, we encourage you

01:10:19.029 –> 01:10:21.729
to. And there’s going to be three screenings,

01:10:21.909 –> 01:10:24.489
one on the 10th and then I think on the Friday

01:10:24.489 –> 01:10:28.529
and Saturday of the following weekend. And we’re

01:10:28.529 –> 01:10:31.449
still deciding, but Peter and or I may be in

01:10:31.449 –> 01:10:33.890
attendance. So Come check out the film if you

01:10:33.890 –> 01:10:37.789
want to, you know, hear or see what all the hype

01:10:37.789 –> 01:10:40.489
is. Yeah, no, I think that’s good stuff. All

01:10:40.489 –> 01:10:43.109
right. Cool. Cool. Thanks, Elliot. Yeah, man.

01:10:43.750 –> 01:10:45.050
Thanks for coming, Elliot. That was really fun.

01:10:51.229 –> 01:10:53.989
Thank you for tuning in to today’s episode of

01:10:53.989 –> 01:10:55.989
Nightmare Logic. We’d like to give a big thank

01:10:55.989 –> 01:10:57.909
you to Elliot Thompson for coming on and talking

01:10:57.909 –> 01:11:00.069
to us about the intricate work of sound design

01:11:00.069 –> 01:11:02.260
and how to make things scary. For today’s show

01:11:02.260 –> 01:11:05.739
notes, go to NightmareLogic .net. Or, to follow

01:11:05.739 –> 01:11:08.579
us on Instagram, we are at NightmareLogicPod.

01:11:09.000 –> 01:11:11.460
We’d like to give a big shout out to Lars Lang

01:11:11.460 –> 01:11:14.380
Peterson for our score. And we will not have

01:11:14.380 –> 01:11:16.619
an episode next week, unfortunately, but check

01:11:16.619 –> 01:11:19.500
back in two weeks. Until then, we’re your hosts,

01:11:19.680 –> 01:11:21.920
Christopher Smith, Peter Sawyer, and Taffeta

01:11:21.920 –> 01:11:23.899
Darling. Thanks from the Nightmare Crew.