Independent filmmaker Sophie Barthes joins us to discuss her breakout Sundance hit — and winner of this year’s Dolby Institute Fellowship Award — The Pod Generation. The film is a hilariously biting near-future sci-fi satire, starring Emilia Clark and Chiwetel Ejiofor as a young couple who turn to a corporate tech giant to help them carry their new baby — literally — to term.“Living in America has triggered this passion for exploring the commodification of everything… The fact that we don't see human beings as an ‘end’ by themself, but as a ‘means.’ A means of consumption. A means of generating more money. I don't know why, but it really interests me. Like how capitalism has reduced human beings to just ‘function,’ instead of ‘being.’”—Sophie Barthes, Writer and Director, “The Pod Generation”The Pod Generation is currently in theaters, in Dolby Vison® and Dolby Atmos®, where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Independent filmmaker Sophie Barthes joins us to discuss her breakout Sundance hit — and winner of this year’s Dolby Institute Fellowship Award — The Pod Generation. The film is a hilariously biting near-future sci-fi satire, starring Emilia Clark and Chiwetel Ejiofor as a young couple who turn to a corporate tech giant to help them carry their new baby — literally — to term.“Living in America has triggered this passion for exploring the commodification of everything… The fact that we don't see human beings as an ‘end’ by themself, but as a ‘means.’ A means of consumption. A means of generating more money. I don't know why, but it really interests me. Like how capitalism has reduced human beings to just ‘function,’ instead of ‘being.’”—Sophie Barthes, Writer and Director, “The Pod Generation”<a href="https://www.imdb.com/title/tt15768848/reference/" rel="noopener noreferrer nofollow" target="_blank">The Pod Generation</a> is currently in theaters, in Dolby Vison® and Dolby Atmos®, where available.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

159 - The Making of Sundance Hit - The Pod Generation

Academy Award winning sound supervisor and re-recording mixer Skip Lievsay returns to the podcast, along with Academy Award winning director Davis Guggenheim, to discuss their incredible new documentary, Still: A Michael J Fox Movie.“I think in a much more traditional documentary, you can polish too much. The sound. You can make it too perfect. And that's sort of what we talk about [with] the off-camera voice. You want to make sure the audience feels like you haven't screwed with the original material.”—Davis Guggenheim, Director and Producer, “Still: A Michael J Fox Movie”Still: A Michael J Fox Movie is now streaming on Apple TV+ in Dolby Vision® and Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Academy Award winning sound supervisor and re-recording mixer Skip Lievsay returns to the podcast, along with Academy Award winning director Davis Guggenheim, to discuss their incredible new documentary, Still: A Michael J Fox Movie.“I think in a much more traditional documentary, you can polish too much. The sound. You can make it too perfect. And that's sort of what we talk about [with] the off-camera voice. You want to make sure the audience feels like you haven't screwed with the original material.”—Davis Guggenheim, Director and Producer, “Still: A Michael J Fox Movie”<a href="https://tv.apple.com/us/movie/still-a-michael-j-fox-movie/umc.cmc.njewt06q05vqbgp6w42pqb0l" rel="noopener noreferrer nofollow" target="_blank">Still: A Michael J Fox Movie is now streaming on Apple TV+ in Dolby Vision® and Dolby Atmos®</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

158 - The Making of Still: A Michael J. Fox Movie

Scottish composer Lorne Balfe joins us to discuss his incredible original score for the latest addition of the Mission: Impossible franchise. Guest host Jon Burlingame returns to delve into Lorne’s process — including some on-the-fly performances during his interview — and why he so badly wanted to record elements of the soundtrack in so many locations from around the world.“You sometimes have these choirs [that] have to sing in different languages. And of course they can do it. But it's just not natural to them. So that was one idea that I had: Wouldn't it be amazing to have the musicians from that city or from that town be part of this soundtrack? The same way that the crew, and the extras, and the actors are from that environment? Let's try to incorporate that world into our world.”—Lorne Balfe, Composer, “Mission: Impossible - Dead Reckoning Part One”Be sure to check out the latest Mission: Impossible at a Dolby Cinema®, so you can enjoy the film in Dolby Vision® and Balfe’s score in stunning Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Scottish composer Lorne Balfe joins us to discuss his incredible original score for the latest addition of the Mission: Impossible franchise. Guest host Jon Burlingame returns to delve into Lorne’s process — including some on-the-fly performances during his interview — and why he so badly wanted to record elements of the soundtrack in so many locations from around the world.“You sometimes have these choirs [that] have to sing in different languages. And of course they can do it. But it's just not natural to them. So that was one idea that I had: Wouldn't it be amazing to have the musicians from that city or from that town be part of this soundtrack? The same way that the crew, and the extras, and the actors are from that environment? Let's try to incorporate that world into our world.”—Lorne Balfe, Composer, “Mission: Impossible - Dead Reckoning Part One”Be sure to <a href="https://www.missionimpossible.com/" rel="noopener noreferrer nofollow" target="_blank">check out the latest Mission: Impossible at a Dolby Cinema®, so you can enjoy the film in Dolby Vision® and Balfe’s score in stunning Dolby Atmos®</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

157 - The Music of Mission: Impossible - Dead Reckoning Part One

Academy Award-winning composer Ludwig Göransson returns to the Dolby Institute Podcast to discuss his latest collaboration with auteur filmmaker Christopher Nolan, with guest host Jon Burlingame. They discuss the composer’s process which, on this film, was anything but traditional, including why he composed over three hours of music before principal photography even began.“But then the real job begins when [Christopher Nolan] comes back and he goes into the edit bay and he sits there with [picture editor] Jennifer Lame and they start putting together the movie. And they put together the scenes. And they already put my music in those scenes, from what we’d already written. So when I see the first cut it already has all my music in it.”—Ludwig Göransson, Composer, “Oppenheimer” Be sure to check out Oppenheimer at a Dolby Cinema® so you can enjoy the film and Göransson’s score in stunning Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Academy Award-winning composer Ludwig Göransson returns to the Dolby Institute Podcast to discuss his latest collaboration with auteur filmmaker Christopher Nolan, with guest host Jon Burlingame. They discuss the composer’s process which, on this film, was anything but traditional, including why he composed over three hours of music before principal photography even began.“But then the real job begins when [Christopher Nolan] comes back and he goes into the edit bay and he sits there with [picture editor] Jennifer Lame and they start putting together the movie. And they put together the scenes. And they already put my music in those scenes, from what we’d already written. So when I see the first cut it already has all my music in it.”—Ludwig Göransson, Composer, “Oppenheimer” Be sure to <a href="https://www.oppenheimermovie.com/" rel="noopener noreferrer nofollow" target="_blank">check out Oppenheimer at a Dolby Cinema® so you can enjoy the film and Göransson’s score in stunning Dolby Atmos®</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

156 - The Music of Oppenheimer

Fresh from their Academy Award-winning work on Top Gun: Maverick, supervising sound editor James Mather and re-recording mixer Chris Burdon return to the Dolby Institute Podcast, along with picture editor Eddie Hamilton, to discuss the sound of the latest installment in the Mission: Impossible series.If you haven’t already, be sure to see Mission: Impossible - Dead Reckoning Part One in a Dolby Cinema®:“What Dolby Atmos® allows us to do is make [the sound design] that much more immersive. I have that many more channels that I can be planting sounds in a way that just makes it completely immersive, you won’t hear any other way.”—Christopher McQuarry, Director, “Mission: Impossible - Dead Reckoning Part One”Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Fresh from their Academy Award-winning work on Top Gun: Maverick, supervising sound editor James Mather and re-recording mixer Chris Burdon return to the Dolby Institute Podcast, along with picture editor Eddie Hamilton, to discuss the sound of the latest installment in the Mission: Impossible series.If you haven’t already, <a href="https://www.missionimpossible.com/" rel="noopener noreferrer nofollow" target="_blank">be sure to see Mission: Impossible - Dead Reckoning Part One in a Dolby Cinema®</a>:“What Dolby Atmos® allows us to do is make [the sound design] that much more immersive. I have that many more channels that I can be planting sounds in a way that just makes it completely immersive, you won’t hear any other way.”—Christopher McQuarry, Director, “Mission: Impossible - Dead Reckoning Part One”Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

155 - The Sound of Mission: Impossible - Dead Reckoning Part One

Phedon Papamichael

A new, exclusive interview with Phedon Papamichael, the director of photography of the latest (and final?) installment of the Indiana Jones franchise. He and director James Mangold had to contend with a myriad of unique challenges on this film, including matching and updating the classic “Indy look,” filming more chase scenes than you can count, and working with cutting edge VFX to “de-age” Harrison Ford, making the 80-year old action star look the same age he was when he shot Raiders of the Lost Ark!“Initially, when we started testing it before principle photography, I was presented with some concerns and restrictions. Like, ‘if you can match the lighting to existing lighting from other [Indiana Jones] movies, it'll apply easier, it'll be more successful.’ I go, ‘well, that's gonna be tricky. In every sequence I have to see [if] he has a similar sidelight or a top light?’ It turned out that wasn't really a factor. We also didn't realize, the turnaround time ended up being pretty quick. We were getting results back within a few days. We saw that, ‘wow, this is really gonna work!’ And we were all very impressed, including Harrison. He was like, ‘it's bizarre seeing yourself.’”— Phedon Papamichael, Director of Photography, Indiana Jones and The Dial of DestinyBe sure to check out Indiana Jones and The Dial of Destiny, in Dolby Vision® and Dolby Atmos®, where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

A new, exclusive interview with Phedon Papamichael, the director of photography of the latest (and final?) installment of the Indiana Jones franchise. He and director James Mangold had to contend with a myriad of unique challenges on this film, including matching and updating the classic “Indy look,” filming more chase scenes than you can count, and working with cutting edge VFX to “de-age” Harrison Ford, making the 80-year old action star look the same age he was when he shot Raiders of the Lost Ark!“Initially, when we started testing it before principle photography, I was presented with some concerns and restrictions. Like, ‘if you can match the lighting to existing lighting from other [Indiana Jones] movies, it'll apply easier, it'll be more successful.’ I go, ‘well, that's gonna be tricky. In every sequence I have to see [if] he has a similar sidelight or a top light?’ It turned out that wasn't really a factor. We also didn't realize, the turnaround time ended up being pretty quick. We were getting results back within a few days. We saw that, ‘wow, this is really gonna work!’ And we were all very impressed, including Harrison. He was like, ‘it's bizarre seeing yourself.’”— Phedon Papamichael, Director of Photography, Indiana Jones and The Dial of DestinyBe sure to <a href="https://movies.disney.com/indiana-jones-and-the-dial-of-destiny" rel="noopener noreferrer nofollow" target="_blank">check out Indiana Jones and The Dial of Destiny</a>, in Dolby Vision® and Dolby Atmos®, where available.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

154 - Cinematographer Phedon Papamichael on Indiana Jones and The Dial of Destiny

Director and Co-Writer Peter Sohn and Director of Photography Jean-Claude Kalache join us this week to tell us about the making of Elemental, Pixar Animation Studios’ most ambitious movie to date. We discuss Pixar’s famously demanding story development process and why this film took years just to get to an outline, how this film deals with some much more grown-up themes than the typical Pixar fare, and the unique challenges of animating two lead characters made up entirely of either a glowing, iridescent flame (Ember) or a blob of translucent liquid (Wade).“We had done some [early] experiments with Ember [and] when we turned her fire on for the first time, she looked like a Balrog from Lord of the Rings! She looked terrifying. She was this very realistic demonic fire… And when [Wade] is in the basement, he has a different look. His whole body turns a different color. And then when he is outside in the sunlight, his whole body turned into something else. He was awful! He was so hard. ”— Peter Sohn, Director and Co-Writer, “Elemental”Be sure to check out Elemental in Dolby Vision® and Dolby Atmos®, now playing in Dolby Cinemas® and theaters near you.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Director and Co-Writer Peter Sohn and Director of Photography Jean-Claude Kalache join us this week to tell us about the making of Elemental, Pixar Animation Studios’ most ambitious movie to date. We discuss Pixar’s famously demanding story development process and why this film took years just to get to an outline, how this film deals with some much more grown-up themes than the typical Pixar fare, and the unique challenges of animating two lead characters made up entirely of either a glowing, iridescent flame (Ember) or a blob of translucent liquid (Wade).“We had done some [early] experiments with Ember [and] when we turned her fire on for the first time, she looked like a Balrog from Lord of the Rings! She looked terrifying. She was this very realistic demonic fire… And when [Wade] is in the basement, he has a different look. His whole body turns a different color. And then when he is outside in the sunlight, his whole body turned into something else. He was awful! He was so hard. ”— Peter Sohn, Director and Co-Writer, “Elemental”Be sure to <a href="https://movies.disney.com/elemental" rel="noopener noreferrer nofollow" target="_blank">check out Elemental</a> in Dolby Vision® and Dolby Atmos®, now playing in Dolby Cinemas® and theaters near you.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

153 - Why Disney and Pixar’s Elemental is their "Most Ambitious" Movie to Date

Paris Barclay

Former DGA president, and one of the most successful directors working in television, Paris Barclay joins us on the podcast to discuss his remarkable work on episodes six and ten of DAHMER, season one of Ryan Murphy’s series, “Monster: The Jeffrey Dahmer Story.” But it was work we almost didn’t get to see, because he was initially very reluctant to take on the job.“This one was a hard NO. Um, ‘I'm doing a series about Jeffrey Dahmer and I want you to be a part of it’ is not a call that I'm delighted to receive.  So I said, ‘listen, I'm of an age where I lived through Jeffrey Dahmer and I know what Jeffrey Dahmer did to black and gay men like myself. And I don't think it's worth doing another story that looks at Jeffrey Dahmer and in any way makes him a more credible, emotional, positive figure.’”— Paris Barclay, Director, DAHMERSo why did Paris decide to take the gig, and how did he manage to craft such beautiful and heartbreaking stories depicting the impact of one of the most grim serial killers in history?This is just one of two podcast episodes we’ve done on this season of the series, so be sure to also look for our podcast episode with the producers and key members of the crew.Be sure to check out DAHMER in Dolby Vision® and Dolby Atmos® on Netflix.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Former DGA president, and one of the most successful directors working in television, Paris Barclay joins us on the podcast to discuss his remarkable work on episodes six and ten of DAHMER, season one of Ryan Murphy’s series, “Monster: The Jeffrey Dahmer Story.” But it was work we almost didn’t get to see, because he was initially very reluctant to take on the job.“This one was a hard NO. Um, ‘I'm doing a series about Jeffrey Dahmer and I want you to be a part of it’ is not a call that I'm delighted to receive. So I said, ‘listen, I'm of an age where I lived through Jeffrey Dahmer and I know what Jeffrey Dahmer did to black and gay men like myself. And I don't think it's worth doing another story that looks at Jeffrey Dahmer and in any way makes him a more credible, emotional, positive figure.’”— Paris Barclay, Director, DAHMERSo why did Paris decide to take the gig, and how did he manage to craft such beautiful and heartbreaking stories depicting the impact of one of the most grim serial killers in history?This is just one of two podcast episodes we’ve done on this season of the series, so be sure to also look for our podcast episode with the producers and key members of the crew.Be sure to <a href="https://www.netflix.com/title/81287562" rel="noopener noreferrer nofollow" target="_blank">check out DAHMER in Dolby Vision® and Dolby Atmos® on Netflix</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

152 - Directing DAHMER with Paris Barclay

Key members of the team behind DAHMER, season one of Ryan Murphy’s hit series “Monster: The Jeffrey Dahmer Story,” join us this week to discuss the challenges of balancing this gripping portrayal of the notorious serial killer, and his impact on the communities he preyed upon, without glorifying or redeeming Jeffrey Dahmer’s horrific acts.“‘Monster’ doesn't just relate to the guy with the knife. It relates to the society in which he was working within, and how he was able to get away with what he was doing for so long,”— Regis Kimble, Producer and Supervising Editor, DAHMERJoining us is Executive Producer and president of Ryan Murphy Productions Alexis Woodall, Re-recording Mixer Laura Wiest, Production Sound Mixer Amanda Beggs, and Producer &amp; Supervising Editor Regis Kimble. This is just one of two podcast episodes we’ve done on this season of the series, so be sure to look for our episode with Paris Barclay, the director of episodes six and ten, which will be released later this week.Be sure to check out DAHMER in Dolby Vision® and Dolby Atmos® on Netflix.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Key members of the team behind DAHMER, season one of Ryan Murphy’s hit series “Monster: The Jeffrey Dahmer Story,” join us this week to discuss the challenges of balancing this gripping portrayal of the notorious serial killer, and his impact on the communities he preyed upon, without glorifying or redeeming Jeffrey Dahmer’s horrific acts.“‘Monster’ doesn't just relate to the guy with the knife. It relates to the society in which he was working within, and how he was able to get away with what he was doing for so long,”— Regis Kimble, Producer and Supervising Editor, DAHMERJoining us is Executive Producer and president of Ryan Murphy Productions Alexis Woodall, Re-recording Mixer Laura Wiest, Production Sound Mixer Amanda Beggs, and Producer &amp; Supervising Editor Regis Kimble. This is just one of two podcast episodes we’ve done on this season of the series, so be sure to look for our episode with Paris Barclay, the director of episodes six and ten, which will be released later this week.Be sure to <a href="https://www.netflix.com/title/81287562" rel="noopener noreferrer nofollow" target="_blank">check out DAHMER in Dolby Vision® and Dolby Atmos® on Netflix</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

151 - The Making of DAHMER

For our 150th episode of The Dolby Institute Podcast we’re delighted to bring you filmmaking advice for first-time filmmakers… FROM first-time filmmakers. We have gathered a panel of emerging directors, fresh off the premieres of their very first films, to share their insights, triumphs, and challenges in this candid round-table discussion. What hard lessons did they learn? And what would they do differently next time?“As the director, everything that goes wrong is my fault. And you have to take full responsibility. Because you're in charge... It was a hard experience. It was bumpy. But it made it so that, in the future, I am prepared and I know how this system works. I [now] know how the machine works and I can operate in it smoothly.”— Thomas Sawyer, Writer and Director, "Sirens"These insights are from a group of young filmmakers who took part in the “Finish the Script Challenge,” a collaboration between the Dolby Institute and Ghetto Film School. With an open-call submission process and mentorship by Academy Award-nominated director Carlos López Estrada, each year recipients receive a $25,000 grant and access to resources to finish their short films in Dolby Vision® and Dolby Atmos®.Whether you're a film student, an aspiring director, or a seasoned pro, we hope you find the candid advice in this episode helpful and inspiring. Be sure to check out each of the films from our panelists, along with behind-the-scenes featurettes by documentary filmmakers Ian Sotzing and Jordan Fatke. — “Pause/Play” by Kaitlyn Ali — “Fruits of Your Labor” by Britney Bautista  — “Sirens” by Thomas Sawyer  — “Zora’s Last Day on Earth” by Miguel Ramirez — Behind the Scenes: Finish the Script Year 2 Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

For our 150th episode of The Dolby Institute Podcast we’re delighted to bring you filmmaking advice for first-time filmmakers… FROM first-time filmmakers. We have gathered a panel of emerging directors, fresh off the premieres of their very first films, to share their insights, triumphs, and challenges in this candid round-table discussion. What hard lessons did they learn? And what would they do differently next time?“As the director, everything that goes wrong is my fault. And you have to take full responsibility. Because you're in charge... It was a hard experience. It was bumpy. But it made it so that, in the future, I am prepared and I know how this system works. I [now] know how the machine works and I can operate in it smoothly.”— Thomas Sawyer, Writer and Director, "Sirens"These insights are from a group of young filmmakers who took part in the “Finish the Script Challenge,” a collaboration between the Dolby Institute and Ghetto Film School. With an open-call submission process and mentorship by Academy Award-nominated director Carlos López Estrada, each year recipients receive a $25,000 grant and access to resources to finish their short films in Dolby Vision® and Dolby Atmos®.Whether you're a film student, an aspiring director, or a seasoned pro, we hope you find the candid advice in this episode helpful and inspiring. Be sure to check out each of the films from our panelists, along with behind-the-scenes featurettes by documentary filmmakers Ian Sotzing and Jordan Fatke. — “<a href="https://youtu.be/iy29j4r_Wfc" rel="noopener noreferrer nofollow" target="_blank">Pause/Play</a>” by <a href="https://youtu.be/knQjm1YP55s" rel="noopener noreferrer nofollow" target="_blank">Kaitlyn Ali</a> — “<a href="https://youtu.be/QQSpxKILCgc" rel="noopener noreferrer nofollow" target="_blank">Fruits of Your Labor</a>” by <a href="https://youtu.be/WmHHvV2Vnik" rel="noopener noreferrer nofollow" target="_blank">Britney Bautista</a> — “<a href="https://youtu.be/3YIiU7uIOtw" rel="noopener noreferrer nofollow" target="_blank">Sirens</a>” by <a href="https://youtu.be/y90Ukj-yY5Y" rel="noopener noreferrer nofollow" target="_blank">Thomas Sawyer</a> — “<a href="https://youtu.be/Y_jhLjId5YI" rel="noopener noreferrer nofollow" target="_blank">Zora’s Last Day on Earth</a>” by <a href="https://youtu.be/FNI1vUsRR-U" rel="noopener noreferrer nofollow" target="_blank">Miguel Ramirez</a> — <a href="https://youtu.be/Cz1sTfpb_KA" rel="noopener noreferrer nofollow" target="_blank">Behind the Scenes: Finish the Script Year 2</a> Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

150 - Directing Advice for First-Time Filmmakers

Sound and image are incredibly powerful tools for storytelling. Join Dolby Institute director Glenn Kiser in conversation with the artists who are using image and sound technologies creatively in some of your favorite films, TV shows, video games, and songs.

Robert Rodriguez

Independent filmmaking legend Robert Rodriguez joins us this week, along with his composer and son Rebel Rodriguez, to discuss their mind-bending new action-thriller, “Hypnotic,” starring Ben Affleck. We discuss how they finally completed this film after years of Covid-related delays, why the director still prefers Austin over Hollywood (as his production hub), and how he’s made filmmaking a truly family affair. In addition to Rebel's score, the film benefited from the creative input of Robert's daughter, Rhiannon Rodriguez, who contributed to the storyboards. Racer Max Rodriguez and Rocket Rodriguez, Robert's other sons, brought their respective expertise to the table as well — Racer Max as the a co-writer and producer, and Rocket as an editor.“Now they’re the age where I was when I was doing ‘[El] Mariachi’ and ‘Desperado’ and all that. And I was like, wow, I was on fire back then, with all these ideas. No wonder these guys are [too]. If I need help with ‘Hypnotic,’ I need myself from 20 years ago to come help me finish this thing. And I got them, I got a whole bunch of them!  So they come with all these great ideas and it's like, wow, divide and conquer. Let's just take over this thing. They're becoming essential to my process, for sure.”— Robert Rodriguez, Director/Producer/Co-Writer/Co-Cinematographer/Editor, “Hypnotic”Be sure to check out Hypnotic, now in theaters.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Independent filmmaking legend Robert Rodriguez joins us this week, along with his composer and son Rebel Rodriguez, to discuss their mind-bending new action-thriller, “Hypnotic,” starring Ben Affleck. We discuss how they finally completed this film after years of Covid-related delays, why the director still prefers Austin over Hollywood (as his production hub), and how he’s made filmmaking a truly family affair. In addition to Rebel's score, the film benefited from the creative input of Robert's daughter, Rhiannon Rodriguez, who contributed to the storyboards. Racer Max Rodriguez and Rocket Rodriguez, Robert's other sons, brought their respective expertise to the table as well — Racer Max as the a co-writer and producer, and Rocket as an editor.“Now they’re the age where I was when I was doing ‘[El] Mariachi’ and ‘Desperado’ and all that. And I was like, wow, I was on fire back then, with all these ideas. No wonder these guys are [too]. If I need help with ‘Hypnotic,’ I need myself from 20 years ago to come help me finish this thing. And I got them, I got a whole bunch of them! So they come with all these great ideas and it's like, wow, divide and conquer. Let's just take over this thing. They're becoming essential to my process, for sure.”— Robert Rodriguez, Director/Producer/Co-Writer/Co-Cinematographer/Editor, “Hypnotic”Be sure to <a href="https://www.hypnoticthemovie.com/" rel="noopener noreferrer nofollow" target="_blank">check out Hypnotic</a>, now in theaters.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

149 - Robert Rodriguez (and Family) on the Making of Hypnotic

Polite Society had one of the biggest debuts at this year’s 2023 Sundance Film Festival and it’s easy to see why. The film is wild, fun, chaotic mashup of genre and style, everything from kung fu action to dark comedy to paranoid spy thriller to coming-of-age drama (and more!) is deftly mixed into this little firecracker of a movie, which was made with an astonishingly small budget during the height of the COVID-19 Omicron surge. Despite these challenges, the film is a masterclass in nailing tone and also turning that tone on a dime. But finding that right balance was no easy feat, requiring lots of trial and error.“It starts with the script… but it’s really found in post, in the edit, how we’re cutting, the rhythm to which we’re cutting, finding the right music, the right score… All of it working together. It became so important. Because as we were test screening it, we could feel audiences weren’t going with us, tonally. And then all we had [left[ was to edit the sound. To kind of find it, and sort of play around with it, and see how we could bring audiences with us.”— Nida Manzoor, Writer and Director, “Polite Society”Joining us on the podcast is the team who “found it.” Writer and director Nida Manzoor, director of photography (and Aikido black belt) Ashley Connor, sound designer and supervising sound editor Jay Price, and re-recording mixers Tushar Manek and Simon Hill.Be sure to check out Polite Society, now in theaters.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Polite Society had one of the biggest debuts at this year’s 2023 Sundance Film Festival and it’s easy to see why. The film is wild, fun, chaotic mashup of genre and style, everything from kung fu action to dark comedy to paranoid spy thriller to coming-of-age drama (and more!) is deftly mixed into this little firecracker of a movie, which was made with an astonishingly small budget during the height of the COVID-19 Omicron surge. Despite these challenges, the film is a masterclass in nailing tone and also turning that tone on a dime. But finding that right balance was no easy feat, requiring lots of trial and error.“It starts with the script… but it’s really found in post, in the edit, how we’re cutting, the rhythm to which we’re cutting, finding the right music, the right score… All of it working together. It became so important. Because as we were test screening it, we could feel audiences weren’t going with us, tonally. And then all we had [left[ was to edit the sound. To kind of find it, and sort of play around with it, and see how we could bring audiences with us.”— Nida Manzoor, Writer and Director, “Polite Society”Joining us on the podcast is the team who “found it.” Writer and director Nida Manzoor, director of photography (and Aikido black belt) Ashley Connor, sound designer and supervising sound editor Jay Price, and re-recording mixers Tushar Manek and Simon Hill.Be sure to <a href="https://www.universalpictures.co.uk/micro/polite-society" rel="noopener noreferrer nofollow" target="_blank">check out Polite Society</a>, now in theaters.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

148 - Making the Sundance Hit - Polite Society

Today we have an exclusive interview with the writer and director of Evil Dead Rise, Lee Cronin, along with sound designer and supervising sound editor Peter Albrechtsen. We discuss how they made this super fun addition to the Evil Dead franchise as well as their collaborative process in crafting one of the creepiest soundtracks you’re likely to experience this year. “Despite the fact that it was contained I wanted the movie to feel epic. And I knew that sound would play a very very important role in that because Evil Dead movies are contained. That’s kind of part of their DNA.”— Lee Cronin, Writer/Director, Evil Dead RiseWe have some “epic” clips to share with you, as well as a breakdown of that excruciating cheese grater sequence, so this episode is not for the squeamish. This interview was recorded live at the 2023 SXSW Film Festival.Be sure to check out Evil Dead Rise, now in theaters.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Today we have an exclusive interview with the writer and director of Evil Dead Rise, Lee Cronin, along with sound designer and supervising sound editor Peter Albrechtsen. We discuss how they made this super fun addition to the Evil Dead franchise as well as their collaborative process in crafting one of the creepiest soundtracks you’re likely to experience this year. “Despite the fact that it was contained I wanted the movie to feel epic. And I knew that sound would play a very very important role in that because Evil Dead movies are contained. That’s kind of part of their DNA.”— Lee Cronin, Writer/Director, Evil Dead RiseWe have some “epic” clips to share with you, as well as a breakdown of that excruciating cheese grater sequence, so this episode is not for the squeamish. This interview was recorded live at the 2023 SXSW Film Festival.Be sure to <a href="https://www.evildeadrisemovie.com/" rel="noopener noreferrer nofollow" target="_blank">check out Evil Dead Rise</a>, now in theaters.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

147 - The Sound of Evil Dead Rise

Making an independent film today is even more challenging than it was in its heyday of the 1990s. So we’re bringing you a panel discussion with directors of two of the festival favorites at this year’s SXSW Film Festival. Directors Hannah Pearl Utt (“Cora Bora”) and Emma Westenberg (“You Sing Loud, I Sing Louder”) take a deep-dive into the state of the independent film industry and the challenges involved in making a film in 2023, including (perhaps most importantly) how to get the gig in the first place:“I read the script and I pitched on it… And then when [the producers] were on board with my take… they said, ‘OK, now the next round is to pitch it to [producer and star] Ewan [McGregor].’ So I went on a Zoom [with him] and I pitched my take on it. Like how I would change the narrative slightly and make different turns. He was listening and then he said, ‘oh, I don’t like that at all.’ [laughs] I just turned beet red and in my head I was thinking — I can’t really back down now. Because this is the way I would tell the story and I don’t know how I would do it otherwise with conviction. So I tried to explain it to him… and then at some point he was like, ‘OK, yeah, maybe that is a good idea.’ I think also it was a little bit of a test to see if I would stick to my guns.”— Emma Westenberg, Director and Executive Producer, “You Sing Loud, I Sing Louder”This panel was moderated by independent producer Kennedy Davey at the 2023 SXSW Film Festival, where “You Sing Loud, I Sing Louder” and “Cora Bora” had their premieres.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Making an independent film today is even more challenging than it was in its heyday of the 1990s. So we’re bringing you a panel discussion with directors of two of the festival favorites at this year’s SXSW Film Festival. Directors Hannah Pearl Utt (“Cora Bora”) and Emma Westenberg (“You Sing Loud, I Sing Louder”) take a deep-dive into the state of the independent film industry and the challenges involved in making a film in 2023, including (perhaps most importantly) how to get the gig in the first place:“I read the script and I pitched on it… And then when [the producers] were on board with my take… they said, ‘OK, now the next round is to pitch it to [producer and star] Ewan [McGregor].’ So I went on a Zoom [with him] and I pitched my take on it. Like how I would change the narrative slightly and make different turns. He was listening and then he said, ‘oh, I don’t like that at all.’ [laughs] I just turned beet red and in my head I was thinking — I can’t really back down now. Because this is the way I would tell the story and I don’t know how I would do it otherwise with conviction. So I tried to explain it to him… and then at some point he was like, ‘OK, yeah, maybe that is a good idea.’ I think also it was a little bit of a test to see if I would stick to my guns.”— Emma Westenberg, Director and Executive Producer, “You Sing Loud, I Sing Louder”This panel was moderated by independent producer Kennedy Davey at the 2023 SXSW Film Festival, where <a href="https://schedule.sxsw.com/2023/films/2082468" rel="noopener noreferrer nofollow" target="_blank">“You Sing Loud, I Sing Louder”</a> and <a href="https://schedule.sxsw.com/2023/films/2082344" rel="noopener noreferrer nofollow" target="_blank">“Cora Bora”</a> had their premieres.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

146 - How to Make an Indie Film in 2023

Darren Aronofsky

Craig Henighan

6-time Emmy Award winning (Stranger Things, Love Death + Robots) sound designer, supervising sound editor, and re-recording mixer Craig Henighan has worked with director Darren Aronofsky since Requiem for a Dream. And with A24’s 25th anniversary re-release of Pi, Craig discusses the challenges of updating its original soundtrack. The indie film’s razor thin budget only allowed for a four day mix back in 1998, and as a result, Craig had his work cut out for him as he reconstructed and rebuilt the original soundtrack into its stunning new remaster and Dolby Atmos® mix.Craig also dishes on the collaborative process of working with legendary directors such as Aronofsky and Alfonso Cuarón (Roma), the latter of whom helped earn Craig his first Academy Award nomination.This discussion took place in front of a live audience at the 2023 SXSW Film Festival.Be sure to check out A24’s 25th anniversary re-release of Darren Aronofsky’s Pi.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

6-time Emmy Award winning (Stranger Things, Love Death + Robots) sound designer, supervising sound editor, and re-recording mixer Craig Henighan has worked with director Darren Aronofsky since Requiem for a Dream. And with A24’s 25th anniversary re-release of Pi, Craig discusses the challenges of updating its original soundtrack. The indie film’s razor thin budget only allowed for a four day mix back in 1998, and as a result, Craig had his work cut out for him as he reconstructed and rebuilt the original soundtrack into its stunning new remaster and Dolby Atmos® mix.Craig also dishes on the collaborative process of working with legendary directors such as Aronofsky and Alfonso Cuarón (Roma), the latter of whom helped earn Craig his first Academy Award nomination.This discussion took place in front of a live audience at the 2023 SXSW Film Festival.Be sure to check out <a href="https://a24films.com/films/pi" rel="noopener noreferrer nofollow" target="_blank">A24’s 25th anniversary re-release of Darren Aronofsky’s Pi</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

145 - Darren Aronofsky’s Longtime Collaborator Craig Henighan on the Dolby Atmos Remaster of Pi

It is a time of great disruption in both independent and studio cinema. Join us for a conversation on the evolving role of film festivals in this dramatically changing landscape. We delved into topics such as the role of streaming platforms and online vs in-person festivals. And tackle questions such as how festivals can develop the next generation of talent, and how exactly DOES one get a film into SXSW or Sundance?Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

It is a time of great disruption in both independent and studio cinema. Join us for a conversation on the evolving role of film festivals in this dramatically changing landscape. We delved into topics such as the role of streaming platforms and online vs in-person festivals. And tackle questions such as how festivals can develop the next generation of talent, and how exactly DOES one get a film into SXSW or Sundance?Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

144 - The Future of Film Festivals — on Location at SXSW

Table of Contents: 00:02:17 - ALL QUIET ON THE WESTERN FRONT - James Friend, ASC, BSC. 00:29:23 - BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS - Darius Khondji, ASC, AFC. 00:51:23 - ELVIS - Mandy Walker, ASC, ACS. 01:22:59 - EMPIRE OF LIGHT - Roger Deakins, CBE, ASC, BSC. 01:59:27 - TÁR - Florian Hoffmeister, BSC. We are thrilled to bring you these interviews with ALL FIVE of the nominees in the Cinematography category for this year’s Academy Awards. The nominated Directors of Photography are in alphabetical order, by film, in the index above. This is a super-sized episode because each of these interviews are brand new and exclusive to The Dolby Institute Podcast. So get your Oscar ballot ready and enjoy these in-depth discussions about the groundbreaking work these talented individuals have brought to the craft of cinematography this year. If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, be sure you are subscribed to us wherever you get your podcasts. Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT, BARDO, ELVIS, EMPIRE OF LIGHT, and TÁR before Oscars voting ends! You can also check out the video for this episode, if you’d prefer to watch these interviews and clips from each of the films, on our YouTube channel. Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Table of Contents: <ul><li>00:02:17 - ALL QUIET ON THE WESTERN FRONT - James Friend, ASC, BSC. </li><li>00:29:23 - BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS - Darius Khondji, ASC, AFC. </li><li>00:51:23 - ELVIS - Mandy Walker, ASC, ACS. </li><li>01:22:59 - EMPIRE OF LIGHT - Roger Deakins, CBE, ASC, BSC. </li><li>01:59:27 - TÁR - Florian Hoffmeister, BSC. </li></ul>We are thrilled to bring you these interviews with ALL FIVE of the nominees in the Cinematography category for this year’s Academy Awards. The nominated Directors of Photography are in alphabetical order, by film, in the index above. This is a super-sized episode because each of these interviews are brand new and exclusive to The Dolby Institute Podcast. So get your Oscar ballot ready and enjoy these in-depth discussions about the groundbreaking work these talented individuals have brought to the craft of cinematography this year. If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, be sure you are subscribed to us <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>. Many thanks to all the studios for helping us pull these interviews together! Be sure to check out <a href="https://www.netflix.com/title/81260280" rel="noopener noreferrer nofollow" target="_blank">ALL QUIET ON THE WESTERN FRONT</a>, <a href="https://www.netflix.com/title/81249430" rel="noopener noreferrer nofollow" target="_blank">BARDO</a>, <a href="https://elvis.warnerbros.com/" rel="noopener noreferrer nofollow" target="_blank">ELVIS</a>, <a href="https://www.searchlightpictures.com/empire-of-light/" rel="noopener noreferrer nofollow" target="_blank">EMPIRE OF LIGHT</a>, and <a href="https://www.focusfeatures.com/tar/" rel="noopener noreferrer nofollow" target="_blank">TÁR</a> before Oscars voting ends! You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode, if you’d prefer to watch these interviews and clips from each of the films, on <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">our YouTube channel</a>. Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

143 - Best Cinematography Nominees: Academy Awards 2023

Table of Contents: 0:02:03 - ALL QUIET ON THE WESTERN FRONT0:22:49 - AVATAR: THE WAY OF WATER0:53:44 - THE BATMAN1:05:44 - ELVIS1:39:20 - TOP GUN: MAVERICKWelcome to this year’s coverage of the Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order:ALL QUIET ON THE WESTERN FRONT —Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan KorteAVATAR: THE WAY OF WATER — Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael HedgesTHE BATMAN — Stuart Wilson, William Files, Douglas Murray, and Andy NelsonELVIS — David Lee, Wayne Pashley, Andy Nelson, and Michael KellerTOP GUN: MAVERICK — Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark TaylorWith the exception of ELVIS (due to time), each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue:0:02:03 - ALL QUIET ON THE WESTERN FRONT - from episode 139, January 10, 2023Edward Berger — Writer and DirectorLars Ginzel — Re-recording MixerViktor Prášil — Production Sound MixerFrank Kruse — Sound Supervisor and Sound DesignerUnfortunately, nominee Stefan Korte (Re-recording Mixer) was unable to join us at the time of this recording0:22:49 - AVATAR: THE WAY OF WATER - from episode 140, January 14, 2023Christopher Boyes — Re-recording Mixer, Supervising Sound Editor, and Sound DesignerDick Bernstein — Supervising Sound EditorMichael Hedges — Re-recording MixerJulian Howarth — Production Sound MixerGwendolyn Yates Whittle — Supervising sound editorUnfortunately, nominee Gary Summers (Re-recording Mixer) was unable to join us at the time of this recording.0:53:44 - THE BATMAN - from episode 116, March 8, 2022Matt Reeves — DirectorMichael Giacchino — ComposerWilliam Files — Supervising Sound EditorDouglas Murray — Supervising Sound EditorAndy Nelson — Re-recording MixerUnfortunately, nominee Stuart Wilson (Production Sound Mixer) was unable to join us at the time of this recording.1:05:44 - ELVIS - recorded recently, exclusively for this episodeDavid Lee — Production Sound MixerWayne Pashley — Re-recording Mixer, Sound Designer, and Supervising Sound EditorMichael Keller — Re-recording MixerAndy Nelson — Re-recording Mixer1:39:20 - TOP GUN: MAVERICK - from episode 133, November 22, 2022Joseph Kosinski — DirectorBjørn Schroeder — Supervising Sound EditorJames H Mather — Supervising Sound EditorAl Nelson — Supervising Sound EditorChris Burdon — Re-recording MixerMark Taylor — Re-recording MixerUnfortunately, Mark Weingarten (Production Sound Mixer) was unable to join us at the time of this recording.Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT, AVATAR: THE WAY OF WATER, THE BATMAN, ELVIS, and TOP GUN: MAVERICK before Oscars voting ends!We have another episode for Best Cinematography coming up. So if you haven't already, please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Table of Contents: 0:02:03 - ALL QUIET ON THE WESTERN FRONT0:22:49 - AVATAR: THE WAY OF WATER0:53:44 - THE BATMAN1:05:44 - ELVIS1:39:20 - TOP GUN: MAVERICKWelcome to this year’s coverage of the Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order:ALL QUIET ON THE WESTERN FRONT —Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan KorteAVATAR: THE WAY OF WATER — Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael HedgesTHE BATMAN — Stuart Wilson, William Files, Douglas Murray, and Andy NelsonELVIS — David Lee, Wayne Pashley, Andy Nelson, and Michael KellerTOP GUN: MAVERICK — Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark TaylorWith the exception of ELVIS (due to time), each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue:0:02:03 - ALL QUIET ON THE WESTERN FRONT - from <a href="https://youtu.be/GzhWoV8iQEM" rel="noopener noreferrer nofollow" target="_blank">episode 139, January 10, 2023</a><ul><li>Edward Berger — Writer and Director</li><li>Lars Ginzel — Re-recording Mixer</li><li>Viktor Prášil — Production Sound Mixer</li><li>Frank Kruse — Sound Supervisor and Sound Designer</li><li>Unfortunately, nominee Stefan Korte (Re-recording Mixer) was unable to join us at the time of this recording</li></ul>0:22:49 - AVATAR: THE WAY OF WATER - from <a href="https://youtu.be/oUbFxki9DO4" rel="noopener noreferrer nofollow" target="_blank">episode 140, January 14, 2023</a><ul><li>Christopher Boyes — Re-recording Mixer, Supervising Sound Editor, and Sound Designer</li><li>Dick Bernstein — Supervising Sound Editor</li><li>Michael Hedges — Re-recording Mixer</li><li>Julian Howarth — Production Sound Mixer</li><li>Gwendolyn Yates Whittle — Supervising sound editor</li><li>Unfortunately, nominee Gary Summers (Re-recording Mixer) was unable to join us at the time of this recording.</li></ul>0:53:44 - THE BATMAN - from <a href="https://youtu.be/uZ_3Kdm_ZhE" rel="noopener noreferrer nofollow" target="_blank">episode 116, March 8, 2022</a><ul><li>Matt Reeves — Director</li><li>Michael Giacchino — Composer</li><li>William Files — Supervising Sound Editor</li><li>Douglas Murray — Supervising Sound Editor</li><li>Andy Nelson — Re-recording Mixer</li><li>Unfortunately, nominee Stuart Wilson (Production Sound Mixer) was unable to join us at the time of this recording.</li></ul>1:05:44 - ELVIS - recorded recently, exclusively for this episode<ul><li>David Lee — Production Sound Mixer</li><li>Wayne Pashley — Re-recording Mixer, Sound Designer, and Supervising Sound Editor</li><li>Michael Keller — Re-recording Mixer</li><li>Andy Nelson — Re-recording Mixer</li></ul>1:39:20 - TOP GUN: MAVERICK - from <a href="https://youtu.be/c2EOXvfpHfM" rel="noopener noreferrer nofollow" target="_blank">episode 133, November 22, 2022</a><ul><li>Joseph Kosinski — Director</li><li>Bjørn Schroeder — Supervising Sound Editor</li><li>James H Mather — Supervising Sound Editor</li><li>Al Nelson — Supervising Sound Editor</li><li>Chris Burdon — Re-recording Mixer</li><li>Mark Taylor — Re-recording Mixer</li><li>Unfortunately, Mark Weingarten (Production Sound Mixer) was unable to join us at the time of this recording.</li></ul>Many thanks to all the studios for helping us pull these interviews together! Be sure to check out <a href="https://www.netflix.com/title/81260280" rel="noopener noreferrer nofollow" target="_blank">ALL QUIET ON THE WESTERN FRONT</a>, <a href="https://www.avatar.com/movies/avatar-the-way-of-water" rel="noopener noreferrer nofollow" target="_blank">AVATAR: THE WAY OF WATER</a>, <a href="https://www.thebatman.com/" rel="noopener noreferrer nofollow" target="_blank">THE BATMAN</a>, <a href="https://elvis.warnerbros.com/" rel="noopener noreferrer nofollow" target="_blank">ELVIS</a>, and <a href="https://www.topgunmovie.com/" rel="noopener noreferrer nofollow" target="_blank">TOP GUN: MAVERICK</a> before Oscars voting ends!We have another episode for Best Cinematography coming up. So if you haven't already, please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

142 - Best Sound Nominees: Academy Awards 2023

Our coverage of the 2023 Academy Awards continues with another film on the Best Sound shortlist — “Babylon.” The work of director Damien Chazelle (“La La Land,” “Whiplash”) is certainly no stranger to awards season, so this is definitely a film to watch out and, in this case, listen for.Joining us today is re-recording mixer, sound designer, and supervising sound editor Ai-Ling Lee; supervising sound editor Mildred Iatrou Morgan; and production sound mixer Steve Morrow. If you’ve seen the film then you already know it is a bombastic depiction of Hollywood decadence in the time of transition from the silent film era to “the talkies.” And from the what we’ve heard in today’s episode, the production was appropriately over-the-top as well.“Damien’s thing was — ‘this is great, but let's go bigger.’ I think Margot Robbie had a story where she said, ‘I put everything out there and I was going crazy.’ And he walked over and I thought, ‘oh, that's it. He's gonna tell me to tone it back.’ And he goes, ‘ok, can you go a little bigger than that?’ That was kind of the idea behind the whole film. It's — let's go bigger, let's go bolder, let's go beyond what's reasonable, and then we can pull back from there. But let's just see where that line is. And so that's how we treated it on production. We just went as extreme as we could.”—Steve Morrow, Production Sound Mixer, “Babylon”Be sure to check out Babylon in a theater near your, in Dolby Atmos® where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Our coverage of the 2023 Academy Awards continues with another film on the Best Sound shortlist — “Babylon.” The work of director Damien Chazelle (“La La Land,” “Whiplash”) is certainly no stranger to awards season, so this is definitely a film to watch out and, in this case, listen for.Joining us today is re-recording mixer, sound designer, and supervising sound editor Ai-Ling Lee; supervising sound editor Mildred Iatrou Morgan; and production sound mixer Steve Morrow. If you’ve seen the film then you already know it is a bombastic depiction of Hollywood decadence in the time of transition from the silent film era to “the talkies.” And from the what we’ve heard in today’s episode, the production was appropriately over-the-top as well.“Damien’s thing was — ‘this is great, but let's go bigger.’ I think Margot Robbie had a story where she said, ‘I put everything out there and I was going crazy.’ And he walked over and I thought, ‘oh, that's it. He's gonna tell me to tone it back.’ And he goes, ‘ok, can you go a little bigger than that?’ That was kind of the idea behind the whole film. It's — let's go bigger, let's go bolder, let's go beyond what's reasonable, and then we can pull back from there. But let's just see where that line is. And so that's how we treated it on production. We just went as extreme as we could.”—Steve Morrow, Production Sound Mixer, “Babylon”Be sure to <a href="https://www.babylonmovie.com/" rel="noopener noreferrer nofollow" target="_blank">check out Babylon in a theater near your, in Dolby Atmos® where available</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

141 - The Sound of Babylon

As we continue our 2023 Awards coverage, today we are talking to the sound team behind another film on the Best Sound Academy Awards shortlist — “Avatar: The Way of Water.”Joining us is four-time Academy Award winning re-recording mixer, supervising sound editor, and sound designer Christopher Boyes; supervising sound editor Dick Bernstein; re-recording mixer Michael Hedges; sound mixer Julian Howarth; and supervising sound editor Gwendolyn Yates Whittle.As you’ll hear about in detail in this interview, every member of the sound and music teams needed to work very closely together, in a concerted effort, to make the sound of this film as clean and as clear as possible. Or as James Cameron would often put it, “clarity is king.” Easier said than done with a movie this complex.“In the end, Avatar — visually — is such a complicated image. And I think the human brain can easily take that in and enjoy it. But we — delivering the sound of Avatar — have to work against that, because the human brain can look at all those beautiful visuals, but can't necessarily process a thousand different sonic notions. Really, we wanna simplify it and get the sound to speak to the story that we're trying to tell. And it's not part of the story, it doesn't belong in the track.”— Christopher Boyes, Re-recording Mixer, Supervising Sound Editor, and Sound Designer, “Avatar: The Way of Water”“Avatar: The Way of Water” is now in theaters, in Dolby Vision® and Dolby Atmos®, where available.Be sure to check out our earlier episode with Gwendolyn Yates Whittle, on dialogue editing and ADR.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

As we continue our 2023 Awards coverage, today we are talking to the sound team behind another film on the Best Sound Academy Awards shortlist — “Avatar: The Way of Water.”Joining us is four-time Academy Award winning re-recording mixer, supervising sound editor, and sound designer Christopher Boyes; supervising sound editor Dick Bernstein; re-recording mixer Michael Hedges; sound mixer Julian Howarth; and supervising sound editor Gwendolyn Yates Whittle.As you’ll hear about in detail in this interview, every member of the sound and music teams needed to work very closely together, in a concerted effort, to make the sound of this film as clean and as clear as possible. Or as James Cameron would often put it, “clarity is king.” Easier said than done with a movie this complex.“In the end, Avatar — visually — is such a complicated image. And I think the human brain can easily take that in and enjoy it. But we — delivering the sound of Avatar — have to work against that, because the human brain can look at all those beautiful visuals, but can't necessarily process a thousand different sonic notions. Really, we wanna simplify it and get the sound to speak to the story that we're trying to tell. And it's not part of the story, it doesn't belong in the track.”— Christopher Boyes, Re-recording Mixer, Supervising Sound Editor, and Sound Designer, “Avatar: The Way of Water”<a href="https://www.avatar.com/movies/avatar-the-way-of-water" rel="noopener noreferrer nofollow" target="_blank">“Avatar: The Way of Water” is now in theaters, in Dolby Vision® and Dolby Atmos®</a>, where available.Be sure to check out <a href="https://youtu.be/mnUZnQW4FTo" rel="noopener noreferrer nofollow" target="_blank">our earlier episode with Gwendolyn Yates Whittle, on dialogue editing and ADR</a>.Please subscribe to The Dolby Institute Podcast <a href="https://linktr.ee/dolbyinstitute" rel="noopener noreferrer nofollow" target="_blank">wherever you get your podcasts</a>.You can also check out the <a href="https://youtube.com/dolby" rel="noopener noreferrer nofollow" target="_blank">video</a> for this episode.Learn more about the <a href="https://www.dolby.com/institute/" rel="noopener noreferrer nofollow" target="_blank">Dolby Institute</a> and check out <a href="https://www.dolby.com/" rel="noopener noreferrer nofollow" target="_blank">Dolby.com</a>. Connect with Dolby on <a href="https://www.instagram.com/dolbylabs/" rel="noopener noreferrer nofollow" target="_blank">Instagram</a>, <a href="https://twitter.com/Dolby" rel="noopener noreferrer nofollow" target="_blank">Twitter</a>, <a href="https://www.facebook.com/Dolby/" rel="noopener noreferrer nofollow" target="_blank">Facebook</a>, or <a href="https://www.linkedin.com/company/6229/" rel="noopener noreferrer nofollow" target="_blank">LinkedIn</a>.

140 - The Sound of Avatar: The Way of Water

Sound + Image Lab: The Dolby Institute Podcast

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