www.indiewire.com/features: When director James Mangold assembled his sound department for “A Complete Unknown,” it was largely made up of artists with whom he had worked before — re-recording mixers David Giammarco and Paul Massey, supervising sound editor Donald Sylvester, supervising music editor Ted Caplan — but production sound mixer Tod Maitland was new to the team. And while Maitland has plenty of complex musicals on his resume, including “The Greatest Showman” and Steven Spielberg’s “West Side Story,” he quickly realized that “A Complete Unknown” was going to be his most challenging music-oriented film yet.
2 comments:
When I first listened to ‘A Complete Unknown’ in theatres, the first thing that jumped out to me was the sound design. The writing wasn’t the best but I felt like the design team was very well put together, especially the sound design so reading this article was super super cool. Something that stood out to me was how the Timothee Chalamet was very insistent on doing everything live and it was so last minute to me. I can’t even begin to imagine how stressful that must have been to have to pivot so quickly so that you don’t slow down the whole filming process. When listening to the movie, I knew that there must’ve been a lot of channels and mixes that went into the making of this movie but when read the article, I was shocked at the scale of everything and just thinking about sorting through all of that made my head hurt.
I think this a super interesting challenge as a sound engineer. I would love to work on a film that covers the works of a musician and their life. For something to be so oriented around sound and how to replicate a specific sound in a film would be a great challenge. Reading this article shows how each project you work on will present itself with its own set of challenges for the mix engineer or sound technician. Bob Dylan was an incredible musician, influences millions with his music, so getting the correct sound in the film was crucial to the storytelling and his legacy as a whole. One thing that they mention in the article is the importance of audience sound to the environment of a concert. While in the moment, the sound of audience can be annoying, I agree that it is what makes it sound real and give life to the overall soundscape. This would be super hard to replicate and i think the lead sound producer came up with a great way to tackle the problem in the end.
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