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24
Seraphina Picquery (Carmen Ejogo), President of the Magical Congress of the United States of America
Eddie Redmayne, Katherine Waterston, & director David Yates on set
gether. The way that Sound 24 and I
work,;we;don’t;differentiate;between
what’s going to be production and
what’s going to take over as post-
production sound. We collaborated
as;one;very;fluid;department;right
from the get-go.”
Communication during pre-
production allowed Sound 24 sound
designer and re-recording mixer Niv
Adiri to record the actual vehicles
they used on set. Adiri attests, “Re-
cording these vehicles when they
were shooting them was a real ad-
vantage, because this film had to
sound real, and had to be grounded
in New York. Our challenge was
about making this magical world
feel real.”
Given how Fantastic Beasts is
populated by fantasy creatures, it’s
easy;to;get;swept;up;in;the;film’s
magic. Adiri explains that sound was
a key component in helping ground
the magical elements in reality, to
make them feel like they’re in the
same world as the characters on
screen. “The creatures had to sound
as real as the cars. We always had a
sound;in;there,;like;different;animal
elements, to have a recognizable
sound to build on top of. We were
able to manipulate those sounds,
make them more magic or less rec-
ognizable as a certain animal,” says
Adiri.
For example, while helping
to design the sound of the Swooping Evil, Adiri was inspired by the
sound of peacocks he heard while
at a nature preserve with his chil-
