INTERVIEW WITH: Mac Ruth, Mark Mangini, Theo Green, Doug, Hemphill and Ron Bartlett
A. (MAC RUTH) Dune. We are Dune!
Q. (Indiscernible audio) -- but with the other departments to
bring this novel fully forth on the screen?
A. (THEO GREEN) I think that was an amazing effort between --
especially between Mark and Theo to create all these great
sounds for the film, and to really find the voice of the movie,
no pun intended. But it's really Denis' vision who really
studied the book, and a lot of us read the book as kids and
adults as well.
But to really bring that story to life in a very real way was
outstanding, and it's all thanks to Denis.
A. (THEO GREEN) yeah. We have a director who really believes in
collaborative editing, and I was so happy to see Joe Walker win
because he's one of the central figures that works with Denis
to pass the ideas between us and sound and VFX. He is kind of
the clearing house, as it were, for all of the ideas that we
come up with.
He and Denis sit there, we feed things into Joe Walker's edit,
he passes those to the VFX guys, and that's how we ended up
having a tight collaboration on this. All Denis' idea.
A. (MARK MANGINI) one of the things that makes this collaboration
with Denis so unique is that, traditionally, sound is meant as
reactive. We're in what's traditionally called post-production,
after the film is shot.
But Denis is a very progressive and forward-thinking director,
and he has us working with Paul Lambert and his visual effects
team and Joe and with Hans, and we are designing sounds early
such that they can inform the edit and inform the VFX. So
rather than being reactive, or sound being reactive, we are
much more proactive, and that's a modern and intelligent way to
organize a film.
Q. Congratulations. Very well deserved.
Did you have a chance to see the ceremony, how -- how
your award was announced?
Q. Great. How do you all think that whole situation was handled?
A. (DOUG HEMPHILL) Well, that's a tough question. But we're here
to honor the film and honor Denis, and that's all we want to do
tonight. We are not here to get into that sort of stuff. That
is, I believe, something for later.
I wanted to ask you, what did you feel was the -- was
there one singular challenge in this film that maybe was
different than other films you've been on?
A. (DOUG HEMPHILL) Oh, my God. Every other scene, it's just --
you guys, jump in on this one.
A. (MARK MANGINI) I would say that, for us, the goal was to
redefine science fiction in cinema. Traditionally, science
fiction uses sound in a way that is designed to compliment
things you've never seen before, with, arguably, things you
maybe have never heard before.
Denis' mandate was make this a universe that sounds familiar.
So we had to really rethink the sound of science fiction so
that you felt as though you were, in effect, hearing a
documentary, as if you put out a boom pole and captured the
sounds of worms and ornithopters and shields and all the
fantastical things that we had to make.
All of them were made, believe it or not, out of traditional
organic acoustic sounds. We used very, very little electronic
or synthetic sound in this film, so much so that, of the 3200
individually created design sounds that are unique to our film,
only about four or five of them are actually derived from
Q. Hello, Carolyn Giardina, Hollywood reporter. Congratulations.
A. (MAC RUTH) Hi, Carolyn.
Q. Ron, a few of you, you've been nominated before. This is your
first win. Would you just describe what it feels like right
now and what this award means to you?
A. (RON BARTLETT) it's so special, because -- every award, of
course, every nomination is really special. But to do this for
Denis is so close to my heart, I can't tell you. He is such a
wonderful human and such a great artist of how he makes films.
He's a visionary.
He's one of the best filmmakers I've ever had the pleasure of
working with, and I can't tell you what it means to be able to
support him and bring this guy home in support of him.
A. (THEO GREEN) I was very confused when Denis Villeneuve was not
nominated for directing. It's as if the film directed itself
and all of these cross categories magically did great work.
Seeing the sweep that Dune is having tonight makes me very
proud for Denis. But I know that he's proud that we've won
Q. Hello. My name is Thomas Vuscala [phonetic] from the Slovac
Republic. A massive congratulations.
It is amazing what you have achieved by sound. I
really enjoyed it. What would you say to young sound designers
who are watching you today and be inspired by you? So I wanted
to ask what would you say to them, for the future sound
designers of our nation?
A. (THEO GREEN) One very simple thing I would say is that sound
design is something you can do without having a lot of money in
your pockets. I mean, really, you need a computer and a
microphone, and you are -- and you are good.
So for me, that was one of the reasons that I got started in
sound design. I would have loved to do all kinds of things in
film, but sound presented an opportunity to create work with a
great director and not have to own a huge amount of expensive
Q. Thank you so much.
Q. Hey, everybody. Now you have here -- my first name and last
name is Tion, and my last name is [indiscernible] from the U.S.
Press Corps. I'm a journalist. And first of all, I would say
congratulations on your Oscar award tonight.
And I have one question for you. I just want to know,
like, is it a great feeling? Do you feel excited right now?
A. (MAC RUTH) Excited? Absolutely. I'm through the moon.
A. (DOUG HEMPHILL) I will say this is as much for our fans as for
anybody, and this puppy is going to my daughter's house. She is
a huge fan.
A. (ALL) There we go.
A. (MAC RUTH) Here's to the fans of Dune. I know everybody loves
the book. There's so many rabid fans out there, and we've had a
great response from them, and we really did this for them as
well as Denis, who really stuck close to the book. And that's
really what it meant. It was so fantastic. Thank you.
Q. Hey. It's Jaz Tankai [phonetic] from Variety. Congratulations
to you all.
Theo, I want to ask you, what sound are you most proud
of for creating in the movie?
And, for all of you, are you going to be back for Dune
2? I know some of the crew have said that they would be back.
Are any of you coming back for Dune 2?
(THEO GREEN) I laughed at the last part, but yeah. Obviously, we
would love to complete the story. So yes. I hope so.
And the sound I'm the most proud of is the one that took the
longest in gestation. I think it's the sound of the voice. For
me, that's something which was always going to be the hardest
thing, not to make it computery, not to make it, kind of,
effectsy, not to make it electronic, but to somehow feel as if
you've got inside someone's head for a moment.
That's the one I think I'm the happiest with. Although, I have
to say, I don't think the voice actually occurs very much in
part 2. So maybe we're spent with that idea already.
Q. Thank you so much.
A. (MAC RUTH) The voice was such a journey for all of us. It
started months and months and months ago, and it followed all
the way through until almost the very last day before we made
our print master.
It took all of us, and Denis and Joe was a big part of that. It
was really a collective effort that made that sound work for
the voice and to tell that story. And it was -- it was really,
like, feeding off of each other in such a creative way that I
have not seen any movie, really, to that degree. So this is a
special group, and I am just honored to be part of that.