The Sound and Music of ‘The Girl With The Dragon Tattoo’

January 17, 2012

Another great feature from – this time on the sound for ‘The Girl With The Dragon Tattoo’:

In this SoundWorks Collection exclusive we talk with Composers Trent Reznor and Atticus Ross, Sound Re-recording Mixer Michael Semanick, and Re-recording Mixer, Sound Designer, and Supervising Sound Editor Ren Klyce.

The Girl with the Dragon Tattoo is a 2011 English-language drama/thriller film. It is the second film to be adapted from the Swedish novel of the same name by Stieg Larsson. The first was a 2009 Swedish-language/English dubbed film. The 2011 film was written by Steven Zaillian and directed by David Fincher. Daniel Craig stars as Mikael Blomkvist, and Rooney Mara stars as Lisbeth Salander. In essence, the film follows a man’s mission to find out what has happened to a girl who has been missing for 36 years, and may have been murdered.

Posted by Asbjoern Andersen, Epic Sound - Contact

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film sound,music,sound design Tags

Atticus Ross, Michael Semanick, music, Ren Klyce, score, sound, sound design, The Girl With The Dragon Tattoo, Trent Reznor —

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The Sound of ‘The Thing’

October 17, 2011

Check out this great feature on the sound design of ‘The Thing’, the just-released prequel to the 1982 John Carpenter classic:

“The wind was a design element,” says Koretz. “It is not a standard background. It was incredibly important for us to help convey emotional content in key scenes. Whether it is isolation, loneliness, paranoia or whatever, we definitely used different frequencies to help sell the emotions that we wanted to convey. We did a tremendous amount of layering from our existing sound effects libraries, and a lot of processing and sound design.
Nothing just fits out of the box any more; most of the sounds in the film are processed in one way or another. This film required the full arsenal of all our plug-ins to help in our quest for these emotional wind sounds.”

“For the creature vocals, everything went to the stage as virtual elements,” Hecker adds. “We presented virtual 5.1 pre-dubs so that if we were happy with the plug-in reverbs we had used, then we went with it. If we wanted to adjust or enhance them, we could do that by opening up the ProTools session.” “We wanted to give the mixers that flexibility,” Koretz confirms, “so they could unwind things or move them around.”

Read the full feature on the sound for The Thing here, and watch the trailer below: