We’re allowed to make mistakes and be creative. And if you do something bad or that doesn’t work (and believe me, I have) you say, “Okay, that’s really bad. We feed off of each other in a very creative atmosphere.ĭH: Conversely, Joe Walker was saying the other day, that there’s that classic ethos of “your mistakes define your successes.” Now that takes somebody who’s very confident in their creativity to be able to make mistakes and that’s definitely how this team and our director are. When someone comes up with a great idea, you’re inspired to come up with your own and do something cool. It’s almost like a very healthy competition where you’re trying to outdo the other guy but in a very positive way. Ron Bartlett (RB): The collaboration’s really great. Not to state the obvious, but it’d be really nice if leaders of governments would behave the same way, with mutual respect and admiration. ![]() I feel this is really a high-level group of people in terms of how we work together. One person says one thing and that leads to something else. That’s the ultimate social endeavor, to do something creative with a group of people you love and respect, and you bounce ideas off of each other. Even if we disagree, we disagree with respect and affection for one another. And arguably, we’ve done a couple of good mixes and I think the reason is that this group has a lot of love and respect for one another. How did you do that mix-wise?ĭoug Hemphill (DH): Dune is the second film that this team has done together. You’ve achieved this great blend of music and sound design and it feels cohesive and beautiful. Ron and Dough, you’ve done an amazing job of mixing Dune‘s soundtrack. Here, they talk about those tough mixing decisions that arose while blending the music and sound design, how they handled the transitions from massive action sequences into the subjective moments of Paul’s visions, how they used the Dolby Atmos surround space to bring out details in chaotic scenes like the Ornithopter ride through a giant sandstorm, and much more! They crafted the final mix in Dolby Atoms at WB Sound in Burbank, CA, on Stage 10. But Oscar-winning Hemphill (who mixes effects, foley, and backgrounds) and Oscar-nom’d Bartlett (who mixes music and dialogue) did a masterful job. ![]() It was a challenging job, for sure, with so much happening on-screen, in the story, and with the sound. ![]() WB Sound re-recordings mixers Ron Bartlett and Doug Hemphill - who also mixed Blade Runner 2049 - had a wealth of sonic riches to sort through, and tough decisions to make to help find the right balance that tells the story and guides the audiences’ focus for each scene. Much like Villeneuve’s Blade Runner 2049, Dune blends music (composed by Hans Zimmer) and sound design (created by a sound team led by Mark Mangini and Theo Green) into a soundtrack that’s unique, dynamic, and expressive. Villeneuve sets up the story to extend into another theatrical installment. As the situation swells into conflict, young Paul Atreides answers fate’s call and begins his rise as the savior of the Fremen and possibly the universe as well. House Atreides has taken over this important harvest, but rival House Harkonnen stages an ambush to reclaim this duty as their own. In the film, the story mainly unfolds on the desert planet Arrakis, where a valuable ‘spice’ for interstellar travel is harvested (or rather, stolen from the planet’s inhabitants called the Fremen). (ironically, the audio is quite low on this video, so you may have to turn up your volume a bit)ĭirector Denis Villeneuve’s Dune takes the audience on an epic journey into the sci-fi world of Frank Herbert’s classic novel.
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