Eye on the Oscars: Sound

“12 Years a Slave”

Keeping the Aud on the Hook

Sound Mixing: Leslie Shatz & Ryan Collins, re-recording mixers; Kirk Francis, production sound mixer

Sound Editing: Ryan Collins & Robert C. Jackson, supervising sound editors

“We wanted something that wouldn’t let the audience off the hook, that would make them part of what happened,” says sound re-recording mixer Leslie Shatz. Still, helmer Steve McQueen didn’t want overdone sound, Shatz says. “The visuals are so strong so we tried to be subtle even with this subject matter.” Shatz was moved by the hymns sung in the film since they were “a desperate attempt” to cope with enslavement.
“All Is Lost”

Defining a World With Wind and Waves

Sound Mixing: Steve Boeddeker & Brandon Proctor, re-recording mixers; Micah Bloomberg, production mixer

Sound Editing: Steve Boeddeker & Richard Hymns, supervising sound editors

“In this movie Robert Redford’s whole world was the boat,” says Steve Boeddeker, supervising sound editor/sound re-recording mixer for ‘All Is Lost.’ “If you hear the ocean, you’re hearing the ocean against the boat, and those sounds are comforting because they are familiar.” When storm or lightening sounds intrude from the distance, they mean trouble. “There’s so little dialogue that sound becomes a real character in the film, communicating with the audience and Redford’s character,” Boedekker says.
“Captain Phillips”

Putting Reality on Steroids

Sound Mixing: Chris Burdon, Mark Taylor, Mike Prestwood Smith, re-recording sound mixers; Chris Munro, production sound mixer

Sound Editing: Oliver Tarney, supervising sound editor

Supervising sound editor Oliver Tarney says. “Paul (Greengrass) kept telling us he wanted to elicit the feeling of a moment captured, not obviously constructed,” writes Tarney in an email to Variety. “We ended up with a Hollywood documentary feel, reality on steroids.” In Malta, Tarney and his crew recorded pirate skiffs, a lifeboat interior and the cargo ship. It left him inspired by the extreme heat and claustrophobia in the smaller boats.
“Fast & Furious 6”

Precision Amid the Mayhem

Sound Mixing: Jon Taylor, Frank A. Montano, re-recording mixers; John Casali, production sound mixer

Sound Editing: Peter Brown, sound design and supervision

“A lot of what happens in these movies is a kind of hyper-real thing,” says supervising sound editor Peter Brown. “We’re hoping to help you suspend your disbelief with the way we used sound.” Brown aimed to avoid a mushy action soundscape by keeping the noises crisp, distinct and on point for each moment in the film. “We wanted you to hear each piece of glass being broken and blow your pants of with craftsmanship,” laughs Brown.
“Her”

Evoking Passion With a Voice Alone

Sound Mixing: David Parker & Ren Klyce, re-recording mixers; Drew Kunin, production mixer

Sound Editing: Ren Klyce, sound and music supervisor

Helmer Spike Jonze wanted deeply emotional dialogue for “Her” even though one of the characters is never seen on screen. “We tried making the woman’s voice sound more processed but it took a lot of feeling out of it,” says Ren Klyce, re-recording sound mixer. “Then we realized her voice should be left full and rich in the mixing process, like she’s there in the room with Theodore (Joaquin Phoenix’s character), not just in someone’s head.”
“Inside Llewyn Davis”

An Abstract Hum for a Split Story

Sound Mixing: Skip Lievsay, Greg Orloff, re-recording sound mixers; Peter F. Kurland, production sound mixer

Sound Editing: Skip Lievsay, supervising sound editor

Long-time Coen brothers collaborator Skip Lievsay sees two parts to “Inside Llewyn Davis.” “You’re looking at a straightforward tale about a folk singer and this surreal road trip,” says Lievsay, the film’s sound re-recording mixer. “We were looking for a sound that would help create an abstract feeling for the journey to Chicago so we used the hum of semi trucks in the background.”
“Oblivion”

Finding the Future in the Past

Sound Mixing: Gary Rizzo & Juan Peralta, re-recording mixers; Paul Ledford, production mixer

Sound Editing: Ren Klyce, supervising sound designer; Gwendolyn Yates Whittle, supervising sound editor

Supervising sound designer Ren Klyce relied on 1980s style synthesizers to generate the sounds he needed for helmer Joseph Kosinski’s sci-fi picture. “He told me he wanted the drones to sound like R2D2 from hell,” laughs Klyce. “We ended up using these kind of ancient Moog synthesizers to get the sounds of the future.” Klyce and Kosinski were also inspired by classic sci-fi films “The Omega Man” and “Silent Running” in the sound for this film.
“Rush”

Capturing the Roar of Road Warriors

Sound Mixing: Martin Steyer, Stefan Korte, re-recording mixers; Danny Hambrook, production sound mixer

Sound Editing: Frank Kruse, supervising sound editor; Markus Stemler, sound designer

Frank Kruse, supervising sound editor, knew hard-core racing fans would be listening to him very carefully. “They know how each car sounds and Ron (Howard) wanted them to be satisfied with the authenticity of what they heard,” says Kruse, who was meticulous about using the actual sounds made by each car. “The engine sounds and their intensity were used to create a sense of the characters going to battle, too.”
“The Hobbit: The Desolation of Smaug”

Giving a Dragon His Rumble and Roar

Sound Mixing: Christopher Boyes, Michael Hedges, Michael Semanick, re-recording mixers; Tony Johnson, production sound mixer

Sound Editing: Brent Burge, Chris Ward

Sound editor Brent Burge found himself surrounded by Elves, Orcs and a dragon for the latest “Hobbit” installment. The dragon Smaug was another obvious challenge for sound designer Dave Farmer. Writes Burge in an email to Variety:“Getting the size and physicality was one thing, but having a vocal performance by Benedict Cumberbatch, and translating that into the size of the dragon was something else again.”

“12 Years a Slave”

“All Is Lost”

“Captain Phillips”

“Fast & Furious 6”

“Her”

“Inside Llewyn Davis”

“Oblivion”

“Rush”

“The Hobbit: The Desolation of Smaug”