I n s i d e L o o k In this issue of Sound & Picture, we talk to the Sim Post New York team about their post-production workflow for O.J.: Made in America, an ESPN documentary series
that transformed into a seven-and-a-half-hour Oscar-and Emmy-winning achievement. We also chat with
Game of Thrones production mixer Ronan Hill about
shooting Season 7 on Icelandic glaciers and mountaintops in the dead of winter. “The weather was hostile
with snow, rain, hail, high winds, and temperatures well below freezing. The
first day we had gale-force wind in excess of 60 mph and wind chill below
-30C,” Hill recalls.
Cinematographer Maxime Alexandre discusses lensing the origins of a terrifying demon-possessed doll in Annabelle: Creation and his approach to the
art of the scare. “You have to show how beautiful life is before you drop the
characters into the worst situations you can imagine,” Alexandre shares.
In our cover story, picture editor Lee Smith tells us about his work on Christopher Nolan’s Dunkirk, which chronicles the heroic evacuation of 330,000
Allied soldiers during World War II. Lee assembled multiple time-shifting
narratives to convey the emotions and magnitude of the rescue. “Editing is all
about rhythms, pace, and understanding,” he reveals.
Moonlight production sound mixer Chris Giles discusses his tools of the trade
with us and shares stories from his career in his own words. “Sometimes the
big grand thing that you fight like crazy to get simply says no and the door
slams shut, but you push through and something amazing opens up not far
down the road,” Giles recalls.
Re-recording mixers Keith Rogers and Scott Weber chat with us about their
Emmy-winning work on Westworld, which merges a futuristic soundscape
with the Wild West. VFX supervisor Glen Pratt also shares his experiences
reimagining beloved characters for the new live-action Beauty and the Beast.
We also talk to composer Jason Graves about scoring the new space-adventure VR game Lone Echo. “The relationship between technology and the human existence was the whole concept behind not only the story of the game,
but also the arc and meaning and soundscapes that you hear in the music,”
Filmmaker Devin Rice also shares his process for developing the final look for
his award-winning semi-autobiographical film Being Black Enough, and our
reviewer takes URSA’s game-changing microphone and transmitter mounting
solutions out for a test run on set.
As always, a special “Thank you” goes out to everyone who took the time to
share their experiences with our readers. We greatly appreciate it. If you have
any feedback or suggestions, or if you’d like to contribute to the magazine
or have an article idea, please email us at email@example.com. For
daily news and updates, visit soundandpicture.com.
Kendra Ruczak Behind the scenes of our 'Dunkirk' cover story I