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Immersed in Movies: Assessing the Sound Oscar Races

Features
by Bill Desowitz
February 13, 2013 3:47 PM
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Even so, coming up with vocalizations for the animated Richard Parker (from Oscar-nominated Rhythm & Hues) was even more daunting than the sounds of the ocean. Thus, as CG has become more and more photo-real, this has raised the bar for sound, too.

While "Lincoln" utilized recordings of accurate clocks and watches that the 16th President actually heard, the diverse crowd noises during the ruckus House of Representatives debate provided the biggest challenge for mixers Nelson, Gary Rydstrom, and Ronald Justice.

And because Steven Spielberg requested as little ADR as possible, it was through trial and error that the team found the right variety and dynamics that flowed sonically throughout the halls of Congress.

With "Skyfall," the directive from Sam Mendes was to use sound emotionally and in support of the action rather than to fill in the sonic color. Interestingly, the team of designers (Per Hallberg and Karen Baker Landers and mixers Scott Millan, Greg Russell, and Stuart Wilson) created various transitional cues to get us into the Bond mindset; and in one scene the sound of waves takes us from violence to calm. However, the simple sound of a garage door opening to reveal the iconic Aston Martin DB5 accompanied by the classic "Bond Theme," followed by the hum of the car pulling out takes us back in time to the origin of the franchise.

Of course, the most memorable sound in the movie is the destruction of the Aston Martin DB5, which elicits the angriest reaction from Bond in the entire movie and groans from us as well.

Finally, "Zero Dark Thirty's" sound designer Paul Ottosson played with sounds in an unusually organic way. For instance, in the controversial opening torture sequence, the sounds of the waterboarding are very naked and sterile to get us to focus on the horror we're watching.

"I [also] sneak in these other ethereal sounds [using his wife's spike fiddle, the Erhu], introducing something new and unreal. It's visceral and more of a dreadful feeling, "Ottosson reveals. Later on, he "plays up some of the outside sounds to show that [Maya] is in control and driving forward." It's all revolves around Maya's obsession to get bin Laden.

Like all the nominees, the creative soundscapes make us more active participants.
 

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