IndieWire: What really takes “Oppenheimer” to the next level, however, is its sonic complexity; with this film, Nolan’s longtime sound designer and supervising sound editor Richard King (in collaboration with an Oscar-nominated sound team comprised of production sound mixer Willie Burton and re-recording mixers Gary A. Rizzo and Kevin O’Connell) has created a mix in which every layer is both thematically motivated and viscerally charged — it’s a stunning aural achievement filled with subtleties that require multiple viewings to fully appreciate, even if the cumulative effect is immediately apparent.
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Good design is a wonderful thing. In my mind the best designs are those that are not as actively noticed by a person, but are experienced in such a way that they are an intrinsic part of the production, enhancing the experience for everyone involved. I think this is especially true for sound design. Oftentimes people will not actively notice sound design, because they are busy paying attention to the actors and flashy lights and sounds. I think that this provides a useful opportunity for sound designers because they can influence an audience member’s impressions without that audience member noticing. This is powerful because it allows them to significantly influence how that person responds to the work. I think that silence, as discussed in this article, is a particularly powerful tool because it is something that audience members are not used to hearing. This makes them uncomfortable and forces them to be more aware of the moment.
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