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Another View of Mixing
Old 3rd September 2020
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Another View of Mixing

Another View:
Old 3rd September 2020
Lives for gear

It’s really difficult to read articles written by folks who clearly don’t fully understand what they write.

It could also be a case of really bad editorial editing, but the resulting text was strange to say the least.
Old 3rd September 2020
Here for the gear
There is no way possible on a film of this size with this budget that the sound was anything other than what the director wanted. If there were sound problems on set during filming they would have been noticed during dailies. If there was that big of a problem when it got to post they would have looped more lines. Every sound person on that film is talented, experienced and has many years under their belts on big features that sound great. There is no other possible reason than it is what the biggest director in the world wanted the film to sound like.
Old 5th September 2020
Gear Addict
Originally Posted by iluvcapra View Post
Does anybody expect future directors and producers to try to imitate the style of a Nolan mix? Knowing the EPs and directors you work with, are any of them chomping at the bit to produce a mix that sounds like Tenet? Taking Nolan position at face value, are these creative experiments and risk-taking developing the art or a dead end?
You can mix your movies the way you want when your previous one grosses a billion dollars. Until then the studio will make that decision for you. He is in a very privileged position that way. Any other director and there would be emergency remixing happening as we speak. Let's not forget he was forced to rerecord and remix Tom Hardys Bane after the IMAX prologue intelligibility problems.
Old 5th September 2020
Gear Addict
Originally Posted by iluvcapra View Post
Who forced him? I don't know about the specifics behind that situation, I'd be curious exactly how he decides something isn't working.

There are other people on his level that exercise the same level of control and have the same level of resources, Fincher I'm thinking of specifically, and nobody has a whisper of a negative thing to say about his mixes.

And Nolan, of course, avoids this justification. He's saying he's doing this not because he can, but because he thinks it makes his movies better movies.

In my experience the “studio” has never intervened on a mix in this way, though in certain circumstances it might have if things got out of hand, but the point is they didn’t. Usually there are other people first, the director’s peers like the producers and editors, who keep things on the rails and that’s usually enough.

And I’m not saying Nolan’s doing anything wrong, that’s the question Marti started with and, like, he’s the customer and Ritz’s Maxim applies. The question is, as praxis, how do we make Chris Nolan AND the audience happy?

Because the audience is the customer too.
I'm not sure of the specifics either but he came out publicly defending the Bane voice in the prologue at the time but when the movie came out it was redubbed and mixed into every speaker at an incredibly loud level. One might suspect he got a bit snotty and said "they'll hear every line now!!" who knows! But something happened for him to have changed it after he initially defended it. The Studio perhaps?
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