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the;final.;I;like;to;give;them;the;raw
sound without having touched it,”
says Hayes.
To help reduce noise on interior
shots that called for wind special
effects;blowing;through;the;actors’
hair and clothing, Hayes recom-
mended they use ‘silent wind.’ He
explains, “David Yates and David
Heyman were both very generous
about allowing me to collaborate
with the special effects designer
David Watkins. We came up with
a silent wind design whereby the
wind machine would sit outside the
studio walls. We would funnel in
the wind through holes in the studio
walls, via flexible air-conditioning
ducts, much like electrical conduit.
Each tube was designated to an ac-
tor;and;a;special;effects;technician
held;that;flexible;tube;and;pointed;it
at the actor, so that David could get
wind in the hair and wind into the
costume.”
By putting the fan outside the
studio, Hayes was able to prevent the
sound of the fan’s motor from bleed-
ing onto the dialogue tracks. “That
requires a huge amount of planning
and collaboration with the special
effects;department.;And,;it;requires
a director who really wants to use
production sound. It’s not about sav-
ing money on ADR, it’s about saving
the;most;magical;thing;on;the;film
set: the original performance. David
and;I;are;firm;believers;that;if;we
can use the original sound perfor-
Tina (Katherine Waterston) & Newt (Eddie Redmayne) sneak through the city streets
Alison Sudol & director David Yates on set
