The old edict “Necessity is the mother of invention” certainly rings true for Foley artists — the people who create sounds for film and television. To be a Foley artist is to be creative and detail-oriented, intuitive and analytical; they must be in good physical condition and, as it turns out, quite often a mind reader.
This year’s Oscar nominees for Best Editing explore the economic collapse of Wall Street in 2008 as a black comedy; return to an iconic post-apocalyptic world, as well as a galaxy, far, far away; go on a metaphysical journey in the frozen wilderness; and provide an inside glimpse of The Boston Globe’s Pulitzer Prize–winning coverage of the Catholic Church sex scandal cover-up. […]
Have you seen Laurel and Hardy do exactly the same skit in both a silent and a sound version? Was it actually the quality of John Gilbert’s voice that doomed his career in the talkies? What beloved classic movie used Fantasound? Why did editors resist changing from optical to magnetic sound? […]
Music Editor Ramiro Belgardt is no stranger to the Star Wars saga. He got in just in time to work on 2005’s Revenge of the Sith, the last of the prequel trilogy, which was supposed to be the end of the franchise. […]
Among the challenges of creating The Hateful Eight in “glorious 70mm,” as filmmaker Quentin Tarantino described it in his original screenplay, was the fact that it required an overall post workflow that was highly irregular in many respects — both a throwback to an earlier era and extremely complex at the same time. […]
Realizing a complex film or TV soundtrack takes a lot of care and attention, together with an advanced degree of collaboration between sound effects editors and re-recording mixers specializing in the same. […]
When director Quentin Tarantino visualized his newest revenge Western, The Hateful Eight, as a 70mm widescreen production, sold it to distributor The Weinstein Company as such, and eventually upped the vintage widescreen aesthetic further by unearthing vintage lenses at Panavision and filming it in a format that Hollywood had not even attempted to use in almost 50 years — Ultra Panavision 70 — his intent was to make a piece of cinema that was a throwback to the rich, special- event theatrical spectacles of the analog era. […]