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Complaints about the “Interstellar” soundtrack popped up before the film even opened.

First reporters and bloggers, then ticket buyers, complained that the sound effects were abrasive, the dialogue tracks muddled and Hans Zimmer’s score overpowering.

Sound pros Variety spoke with over the summer were critical. One said: “People felt like they were pummeled during that film. How did they think that was going to serve the film?”

Yet the Acad’s sound branch nommed it for both sound mixing and sound editing.

“One good thing about this is that it’s inspired conversation,” said a multiple Oscar winning re-recording mixer recently. “I’ll always applaud ambitious filmmakers because they’ll do something outside the norm.”

That may be a reason it garnered two noms. “Interstellar” supervising sound editor Richard King thinks so.

“This film is an experience,” says King. “The hope was to surprise people and give them some imaginative sense of what these environments and spaces that no one has yet been to must be like.”