![]() How did you go about treating the diegetic instruments, from the school band in the beginning to Joe quietly playing piano in his apartment? ![]() ![]() We added bass to their dialogue, which would sonically rack focus between them and Joe, who’s just mono and dry and center. The intention was to make them feel otherworldly and maybe a little bit more important and powerful. So even though they were in the middle, if you really listen, you’ll hear that we diverged their dialogue into the left and the right and then on top of that added little delay flutters into the surround, which we achieved with a Lexicon 480 emulation from Relab. Then, in The Great Before, Joe and the young souls are mono and tiny, but then the counselors - those wire-like entities - were kind of left-center-right-ish. Not only are their voices moving across the screen, but all the characters are kind of looking down, hearing them underneath the stage over there or over there. That’s a good scene for spatiality and panning and whatnot. The counselor says, “And next up is soul number 22.” 22 says, “I’m not coming out!” He goes down the stairs, and you hear this whole off-camera thing as he’s chasing her around. We tend to try to keep everything in the center, but there are moments like the gag where 22 is first introduced. That said, with Pete Docter and the Pixar team, I think they were really interested in exploring panning, because with animation there are so many voices that panning sometimes helps clarify which character is speaking. The dialogue does move across the screen, and that’s sort of an interesting starting point when you’re working with a filmmaker because some don’t want to do that at all. It’s probably a culmination of how things are panned within and around the dialogue. ![]() In the real world of New York, there’s a lot of detail in terms of panning not just the dialogue, but sound effects as well. How did you decide where to place elements within real-world settings, and how did you develop the sound of The Great Beyond and The Great Before? Soul ’s mix felt very three-dimensional to me. Klyce is no stranger to Oscar nominations, having earned them for Star Wars: Episode VIII - The Last Jedi, The Social Network, The Girl With the Dragon Tattoo, Fight Club and The Curious Case of Benjamin Button. Klyce took on those same titles on David Fincher’s Mank, a love letter to ‘30s and ‘40s cinema that centers on Herman Mankiewicz, the sharp-witted, alcoholic screenwriter who wrote Citizen Kane. L-R: Ren Klyce and David Parker working on Soul. ![]()
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