Dolby Creator Talks

Latest Episodes:

144 - The Future of Film Festivals — on Location at SXSW Mar 18, 2023

Show notes

It is a time of great disruption in both independent and studio cinema. Join us for a conversation on the evolving role of film festivals in this dramatically changing landscape. We delved into topics such as the role of streaming platforms and online vs in-person festivals. And tackle questions such as how festivals can develop the next generation of talent, and how exactly DOES one get a film into SXSW or Sundance?

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143 - Best Cinematography Nominees: Academy Awards 2023 Mar 02, 2023

Show notes

Table of Contents:

00:02:17 - ALL QUIET ON THE WESTERN FRONT - James Friend, ASC, BSC.
00:29:23 - BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS - Darius Khondji, ASC, AFC.
00:51:23 - ELVIS - Mandy Walker, ASC, ACS.
01:22:59 - EMPIRE OF LIGHT - Roger Deakins, CBE, ASC, BSC.
01:59:27 - TÁR - Florian Hoffmeister, BSC.

We are thrilled to bring you these interviews with ALL FIVE of the nominees in the Cinematography category for this year’s Academy Awards. The nominated Directors of Photography are in alphabetical order, by film, in the index above.

This is a super-sized episode because each of these interviews are brand new and exclusive to The Dolby Institute Podcast. So get your Oscar ballot ready and enjoy these in-depth discussions about the groundbreaking work these talented individuals have brought to the craft of cinematography this year.

If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, be sure you are subscribed to us wherever you get your podcasts.

Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT, BARDO, ELVIS, EMPIRE OF LIGHT, and TÁR before Oscars voting ends!

You can also check out the video for this episode, if you’d prefer to watch these interviews and clips from each of the films, on our YouTube channel.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

142 - Best Sound Nominees: Academy Awards 2023 Feb 15, 2023

Show notes

Table of Contents:

0:02:03 - ALL QUIET ON THE WESTERN FRONT

0:22:49 - AVATAR: THE WAY OF WATER

0:53:44 - THE BATMAN

1:05:44 - ELVIS

1:39:20 - TOP GUN: MAVERICK

Welcome to this year’s coverage of the Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order:

ALL QUIET ON THE WESTERN FRONT —Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan Korte

AVATAR: THE WAY OF WATER — Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael Hedges

THE BATMAN — Stuart Wilson, William Files, Douglas Murray, and Andy Nelson

ELVIS — David Lee, Wayne Pashley, Andy Nelson, and Michael Keller

TOP GUN: MAVERICK — Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark Taylor

With the exception of ELVIS (due to time), each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue:

0:02:03 - ALL QUIET ON THE WESTERN FRONT - from episode 139, January 10, 2023

Edward Berger — Writer and Director
Lars Ginzel — Re-recording Mixer
Viktor Prášil — Production Sound Mixer
Frank Kruse — Sound Supervisor and Sound Designer
Unfortunately, nominee Stefan Korte (Re-recording Mixer) was unable to join us at the time of this recording

0:22:49 - AVATAR: THE WAY OF WATER - from episode 140, January 14, 2023

Christopher Boyes — Re-recording Mixer, Supervising Sound Editor, and Sound Designer
Dick Bernstein — Supervising Sound Editor
Michael Hedges — Re-recording Mixer
Julian Howarth — Production Sound Mixer
Gwendolyn Yates Whittle — Supervising sound editor
Unfortunately, nominee Gary Summers (Re-recording Mixer) was unable to join us at the time of this recording.

0:53:44 - THE BATMAN - from episode 116, March 8, 2022

Matt Reeves — Director
Michael Giacchino — Composer
William Files — Supervising Sound Editor
Douglas Murray — Supervising Sound Editor
Andy Nelson — Re-recording Mixer
Unfortunately, nominee Stuart Wilson (Production Sound Mixer) was unable to join us at the time of this recording.

1:05:44 - ELVIS - recorded recently, exclusively for this episode

David Lee — Production Sound Mixer
Wayne Pashley — Re-recording Mixer, Sound Designer, and Supervising Sound Editor
Michael Keller — Re-recording Mixer
Andy Nelson — Re-recording Mixer

1:39:20 - TOP GUN: MAVERICK - from episode 133, November 22, 2022

Joseph Kosinski — Director
Bjørn Schroeder — Supervising Sound Editor
James H Mather — Supervising Sound Editor
Al Nelson — Supervising Sound Editor
Chris Burdon — Re-recording Mixer
Mark Taylor — Re-recording Mixer
Unfortunately, Mark Weingarten (Production Sound Mixer) was unable to join us at the time of this recording.

Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT, AVATAR: THE WAY OF WATER, THE BATMAN, ELVIS, and TOP GUN: MAVERICK before Oscars voting ends!

We have another episode for Best Cinematography coming up. So if you haven't already, please subscribe to The Dolby Institute Podcast wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

141 - The Sound of Babylon Jan 16, 2023

Show notes

Our coverage of the 2023 Academy Awards continues with another film on the Best Sound shortlist — “Babylon.” The work of director Damien Chazelle (“La La Land,” “Whiplash”) is certainly no stranger to awards season, so this is definitely a film to watch out and, in this case, listen for.

Joining us today is re-recording mixer, sound designer, and supervising sound editor Ai-Ling Lee; supervising sound editor Mildred Iatrou Morgan; and production sound mixer Steve Morrow.

If you’ve seen the film then you already know it is a bombastic depiction of Hollywood decadence in the time of transition from the silent film era to “the talkies.” And from the what we’ve heard in today’s episode, the production was appropriately over-the-top as well.

“Damien’s thing was — ‘this is great, but let's go bigger.’ I think Margot Robbie had a story where she said, ‘I put everything out there and I was going crazy.’ And he walked over and I thought, ‘oh, that's it. He's gonna tell me to tone it back.’ And he goes, ‘ok, can you go a little bigger than that?’ That was kind of the idea behind the whole film. It's — let's go bigger, let's go bolder, let's go beyond what's reasonable, and then we can pull back from there. But let's just see where that line is. And so that's how we treated it on production. We just went as extreme as we could.”

—Steve Morrow, Production Sound Mixer, “Babylon”

Be sure to check out Babylon in a theater near your, in Dolby Atmos® where available.

Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

140 - The Sound of Avatar: The Way of Water Jan 14, 2023

Show notes

As we continue our 2023 Awards coverage, today we are talking to the sound team behind another film on the Best Sound Academy Awards shortlist — “Avatar: The Way of Water.”

Joining us is four-time Academy Award winning re-recording mixer, supervising sound editor, and sound designer Christopher Boyes; supervising sound editor Dick Bernstein; re-recording mixer Michael Hedges; sound mixer Julian Howarth; and supervising sound editor Gwendolyn Yates Whittle.

As you’ll hear about in detail in this interview, every member of the sound and music teams needed to work very closely together, in a concerted effort, to make the sound of this film as clean and as clear as possible. Or as James Cameron would often put it, “clarity is king.” Easier said than done with a movie this complex.

“In the end, Avatar — visually — is such a complicated image. And I think the human brain can easily take that in and enjoy it. But we — delivering the sound of Avatar — have to work against that, because the human brain can look at all those beautiful visuals, but can't necessarily process a thousand different sonic notions. Really, we wanna simplify it and get the sound to speak to the story that we're trying to tell. And it's not part of the story, it doesn't belong in the track.”

— Christopher Boyes, Re-recording Mixer, Supervising Sound Editor, and Sound Designer, “Avatar: The Way of Water”

“Avatar: The Way of Water” is now in theaters, in Dolby Vision® and Dolby Atmos®, where available.

Be sure to check out our earlier episode with Gwendolyn Yates Whittle, on dialogue editing and ADR.

Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

139 - The Sound of All Quiet on the Western Front (2022) Jan 10, 2023

Show notes

This week we sit down with the writer/director and sound team behind the harrowing new adaptation of "All Quiet on the Western Front." Joining director Edward Berger is sound supervisor and sound designer Frank Kruse, sound designer Markus Stemler, re-recording mixer Lars Ginzel, and production sound mixer Viktor Prášil. This film has been shortlisted for the Academy Award for Best Sound, and as Berger says in the interview, this team has a strong track record when it comes to winning sound awards in Germany. So this is definitely a film to keep an eye (and ear) on this awards season.

During the conversation, Berger also discusses why he felt now was the ideal time to tackle this adaptation of the classic World War I novel, and how the team approached the sound design and mix for the film, which — to the director — was all about harsh contrasts and abrupt sound cuts:

“The film is very much about contrasts. You mentioned the generals and the soldiers. Thematically that's one. But there's also: Destruction and peace, noise and silence, battle and exhaustion, wide shots and closeups, darkness and light. So a lot of it is in contrast. And I love abrupt sound cuts, really hard sound cuts, because they always shake me awake in the movie theater. I always go, ‘oh God, something changed.’ And I have to change pace and I have to listen up. So we had talked about and thought a lot about those contrasts and those hard sound cuts that lent themselves to a rich design, I think.”

— Edward Berger, Writer/Director, “All Quiet on the Western Front” (2022)

The film's Dolby Atmos® mix can be experienced in the Netflix app — with the German language track enabled — and in Dolby Vision® for compatible screens.

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You can also check out the video for this episode.

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138 - The Sound of Nanny Dec 22, 2022

Show notes

The 2022 Sundance Grand Jury Prize winner was the first ever horror film to win the top award at the film festival. But before that, "Nanny" — the feature film debut from Nikyatu Jusu — was also the recipient of the 2022 Dolby Institute Fellowship, which awards a low-budget Sundance film with a post-production grant to finish the film in Dolby Vision® and Dolby Atmos®.

Now that "Nanny" is available to stream on Prime Video, we recently sat down with writer-director Nikyatu Jusu, supervising sound editor Dave Flynch, and Academy Award winning re-recording mixer Skip Lievsay to discuss the film’s rich soundtrack. This episode was recorded during a live post-screening Q&A for the Artist Academy — Film at Lincoln Center’s program for young filmmakers — and was moderated by our executive producer Amanda Schneider.

“We talked a lot about character arc for the soundscape… There is a tendency to neglect sound in the conception stage. And if you think about your soundscape as a character, then you can have an arc for that soundscape so that the audience doesn't become numb, with a relentless soundscape that is not ebbing and flowing.”

— Nikyatu Jusu, Writer and Director, "Nanny"

Be sure to check out "Nanny" on Prime Video.

Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.

You can also check out the video for this episode.

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137 - The Sound of Guillermo del Toro’s Pinocchio Dec 09, 2022

Show notes

Two-time Academy Award winning director Guillermo del Toro and his co-director Mark Gustafson join us to discuss their latest work — appropriately titled — “Guillermo del Toro’s Pinocchio.” Despite being stop-motion animation, the film features a rich sound design and complex mix. One which the directors had to fight for.

“Mark [Gustafson] and I had to fight for the time that we needed on the mix board originally, because [for an] animated movie, they gave us a number of weeks. And we said, ‘no, we need more.’ Scott and I knew that our timing generally takes a little longer. But I think that we ended up understanding that we needed as many passes as a live-action movie — a big one — to reach simplicity. Which is very, very, very at odds. To be simple, we needed to elaborate the mix and make sure we were not mixing something superficial.”

— Guillermo del Toro, Director, “Guillermo del Toro’s Pinocchio”

Joining the discussion is sound supervisor Scott Gershin, along with re-recording mixers Frank A. Montaño and Jon Taylor, the latter of whom you may remember from our episode on BARDO from earlier this week.

Be sure to check out “Guillermo del Toro’s Pinocchio,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®.

Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

136 - Director Alejandro Iñárritu and the Sound of BARDO Dec 06, 2022

Show notes

Multiple Academy Award winning director Alejandro G. Iñárritu joins us to discuss his latest work, the surreal, yet somehow pseudo-autobiographical film, “BARDO, False Chronicle of a Handful of Truths.”

Since this episode focuses almost exclusively on the sound of the film, joining the conversation is much of the film’s sound team:

Martín Hernández - Supervising Sound Editor and Sound Designer

Santiago Núñez - Production Sound Mixer

Jon Taylor - Re-recording Mixer

Ken Yasumoto - Re-recording Mixer and Sound Designer

While the film is truly a visually stunning epic, the director focused much of his attention on the audio, because, as he put it:

“I really think that this film is — audio, 75% [of the experience]… It's my favorite film, audio-wise, by far. I think it's a much more complex and difficult film than I have done. And the work that this team did is invaluable. And the experience of the audio in Dolby Atmos — you can close your eyes and really understand and feel the film. So I think the job that this team did is absolutely extraordinary. I'm very happy with it.”

— Alejandro G. Iñárritu, Director and Co-writer, “BARDO, False Chronicle of a Handful of Truths”

Be sure to check out “Bardo,” available on Netflix starting on December 16th, in Dolby Vision® and Dolby Atmos®.

Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

135 - Ron Howard and the Making of Thirteen Lives Dec 02, 2022

Show notes

Director Ron Howard joins us to discuss his thrilling new film, “Thirteen Lives,” a harrowing dramatization of the real-life rescue of thirteen young Thai soccer players who were trapped in a flooding cave in 2018.

Joining the discussion is much of the film’s post-production team:

Rachael Tate, Supervising Sound Editor

Oliver Tarney, Supervising Sound Editor/Sound Designer

Chris Burden, Re-recording Mixer

William Miller, Re-recording Mixer

James D. Wilcox, Editor

Authenticity was the name of the game and the entire filmmaking team took great pains to make this film as historically accurate as possible.

“It was great having [the actual rescue divers] Rick Stanton and Jason Mallinson around [set] because they were not only there to help make sure that the diving was accurate and that the divers’ technique was right, and that we understood what the threats and the complications were, and the procedure of it all. But… they're not guys that dwell on emotions very much as individuals. Nonetheless, on the day that we were actually shooting the scene [where they first discover the boys] with the flashlights, I just remember Rick talking about he wasn't sure he'd ever see those boys again. He knew he was leaving them in the dark and… he just thought it was a hopeless scenario and he was pretty shattered by that. And I just thought, ‘leave them in the dark.’ Making a moment that will allow that sort of focus. The flashlights kind of coming out [and] just slowly disappearing until we were in the complete darkness.”

— Ron Howard, Director, “Thirteen Lives”

Thirteen Lives is available to stream right now on Prime Video.

Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

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