Tonebenders Podcast

We talk with Stuart Wilson about his work as Production Mixer on the extremely challenging set of Sam Mendes' epic film 1917. The films long continuous shots presented new and unique obstacles (both physical and technical). He also worked on two other recent films in The Two Popes and Star Wars: The Rise of Skywalker. Since we recorded this interview Stuart Wilson has won the Best Sound Mixing Oscar for his work on 1917.

In this wide-ranging interview, René speaks with Martin Stig Andersen about the tools and techniques he's used as a designer and composer over the course of his acclaimed career.

This episode we talk to the co-supervising sound editors on Just Mercy, Onnalee Blank and Katy Wood. They talk us through the evolution of the sound of the prison interiors in the film, how to get courtroom loop group to work, and lots more.

Brad Engleking is nominated for a MPSE Golden Reel Award this year for his work on Terrence Malick’s latest film A Hidden Life. We talk about his work dialog editing, sound designing and mixing this 3 hour epic.

122 - John Wick 3 with Mark Stoeckinger & Andy Koyama by Tonebenders Podcast

121 - George and Thomas record rain by Tonebenders Podcast

Supervising Sound Editor Alan Murray and Re-Recording Mixers Dean Zupancic & Tom Ozanich talk us through their work on Joker. We dig deep into subway shooting scene, and how they found the sound of Gotham.

We sit down with 8 time Oscar Nominee, Wylie Stateman to talk about the state of the audio post industry, his first steps when tackling new projects and how he maintains decades long working relationships with directors like Quentin Tarantino. We also pull apart his recent work on Once Upon a Time... In Hollywood

We talk with the co-Supervising Sound Editors on Taika Waititi's new film Jojo Rabbit, Ai-Ling Lee (Also SFX Re-Recording Mixer) and Tobias Poppe. They tell us about passing scenes back and forth during the edit phase, how they treated the films imaginary characters with sound and lots more.

In this episode we check in with Skip Lievsay & Blake Leyh to talk about their recent work on the bio-pic Harriet. They discuss bringing the sound of the 1800s to the screen, dealing with studio execs on the mix stage and their many years of collaboration since their first shared credit on 1991's Barton Fink.

In this episode Paul Massey and David Giammarco talk us through the their mix of the James Mangold film For vs Ferrari. We break down two particular scenes soup to nuts.

We are joined by 4 Members of the sound team of the AMAZING new documentary The Cave from Oscar nominated director Feras Fayyad. Sound supervisor Peter Albrechtsen is joined by sound editor Rena Eid, and re-recording mixers Tim Neilsen and Lars Ginzel to talk about the unique sound design for this gritty doc about an underground hospital in war torn Syria. Mixed in ATMOS, the sound plays an unusually large role in telling this heartbreaking story.

This episode features two separate interviews about the sound work on the Sci-fi film I Am Mother. First up, we talk with Pete Smith (Re-recording mixer), Tom Heuzenroeder (Sound designer), Duncan Campbell (Sound designer & Foley recordist) and special co-host for this interview Carlos Manrique Clavijo (Mix assistant & mix studio tech). They talk about the task of bringing the robot (Mother) to life with sound design plus lots more. After that (39 min) Timothy talks, one on one, with the film's director Grant Sputore. Grant tell us about how blown away he was by the sound design on I am Mother and the way he communicated with the sound team to achieve his (aural) vision.

Timothy talks to Midge Costin about her new documentary feature on the art of sound for films called Making Waves. Calling in from Ghent, Belgium, Midge tells us about how the film came to be and why she was born to make this project. Go to www.makingwavesmovie.com to find a way to see this film, featuring sound luminaries Walter Murch, Ben Burtt, Gary Rydstrom and so many more!

In this episode Tim & Teresa welcome Rocketman's Picture Editor (Oscar Winner Chris Dickens), Music Editor (Andy Patterson) and Sound Supervisor (Danny Sheehan). They talk about how their departments worked together to create the film's complicated sound scape. The picture had to be edited to match the music, and then the music had to be chopped up to accommodate the picture's needs. Finally the sound effects and mix had to sell all the transitions to make it all work.

In this episode Tim sits down with Harry Cohen, Zach Goheen & Leo Marcil to talk about their work on Quentin Tarantino's latest film Once Upon A Time... In Hollywood. They talk about an epic session recording all the cars in the movie, building worlds with sound, the magic of foley and lots more.

Marc Straight is a composer and sound designer for games, films and live attractions. For the commemoration of our 100th episode, we commissioned Marc to create a new theme for the podcast. In this episode, we break down the sounds and inspirations for the track that came forth. You can buy tonbender at Marc's bandcamp page. https://marcstraight.bandcamp.com/track/tonebender

In this mini episode Tim calls up Benjamin Cook to talk about the work he did to earn his recent Emmy Nomination as Supervising Sound Editor on s1 of Amazon's Jack Ryan series.

We dig deep into the sound of Season 3 of the HBO series True Detective with Supervising Sound Editor Mandell Winter and Dialog Editor Micah Loken. Both have been nominated for an Emmy for there work on the show and talk about how they got the dialog so smooth and created an unique sonic mood for the series.

In this episode we talk about the unique working relationship between SEAL Team's picture and sound departments during the show's post production. Editors David C. Cook and John Vitale sit down with the series' Supervising Sound Editor Greg Hedgepath and Sound Designer Charles Maynes. They discuss how they collaborate and influence each others choices during the fast-paced schedule of the military-themed action series.