Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — leads another all-star panel of Hollywood talent to discuss how they broke into the industry as professional cinematographers. And what better way to do that than by discussing their first feature films?“Cinematographers, together with the directors and writers of a film, are also the authors of the story. They are responsible for every image, for every frame, [for] every message that needs to be communicated in order to communicate the story. And we’re very lucky to have, today, six incredible cinematographers talking about the beginning of their journeys and how their early projects helped shape their filmmaking voices.”—Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime”Today’s panel includes Directors of Photography:- Mandy Walker (Elvis, Mulan, Hidden Figures, Australia)- Larry Fong (300, Batman V. Superman, Kong: Skull Island, the pilot of LOST)- Lawrence Sher (Joker, the Hangover trilogy, Garden State)- Oren Soffer (The Creator w/ Greig Fraser)- Sandra Valde-Hansen (The Summer I Turned Pretty, The L Word: Generation Q)- Karina Silva (No Man of God, the upcoming Which Brings Me to You)This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.Antigravity AcademyCAPE (Coalition of Asian Pacifics in Entertainment)For more inspiring Satellite Sessions just like this one, be sure you are subscribed 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 writer and director Emerald Fennell joins us to discuss her latest dark comedy thriller, “Saltburn.” The film features an unflinchingly disturbing story, incredible performances, and an appropriately cutting-edge sound design, which was being experimented with up until the very end of post-production.“For it to be exciting and vital you need to be experimenting up until the end. You need to be pushing and pushing. This is a very Gothic movie in lots of ways. It’s very stylized… But [if you push] too much, it just becomes kind of overwhelming. The thing [about] working with lots of people who are really brilliant is just give everyone the space to try lots of different things. Because sometimes you just don’t know the perfect thing until you hear it or see it… That’s always how you make stuff that is on the edge of something interesting. You have to fall off to know where you can come back and that’s why it’s such a fun, exciting process. And it kind of has to be right until the last second.”—Emerald Fennell, writer/director/producer, “Saltburn”Joining the conversation with Fennell are supervising sound editors Nina Hartstone and Eilam Hoffman, production sound mixer Nina Rice, and re-recording mixers Adam Scrivener and Jasper Thorn. SPOILER ALERT: This conversation discusses many important plot twists, so bear that in mind before listening to this episode.Be sure to check out “Saltburn,” 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.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — leads another all-star panel of Hollywood talent to discuss how they’ve navigated the industry as screenwriters, television writers, and showrunners.These talented writers have not only enjoyed enormous success in the industry, but have also brought their own fresh perspectives which have been missing for a long time in Hollywood. Including narratives that have focused on Asian Americans, women, Latin America and Native Americans, to name just a few. “As we all know, writers are the backbone of storytelling. And, of course, the backbone of our industry. And during this pivotal time in our entertainment community, it feels as important as ever to hear from the artists who are the foundation of everything we do... Today we are joined by four powerhouse writers who will share a little bit about their experiences creating film and TV that has truly been game-changing for our industry. They're responsible for giving us singular stories that authentically reflect the world that we live in, as well as helped us envision the world that we want to see.”—Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime”Today’s panel includes writers:- Carolina Paiz (Narcos, Grey’s Anatomy, Orange is The New Black)- Dana Ledoux Miller (The Newsroom, Thai Cave Rescue, Disney’s Moana)- Joanna Calo (Hacks, Beef, Bojack Horseman, The Bear)- Charles Yu (Interior Chinatown, Westworld, American Born Chinese, Marvel’s Legion on FX)This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.Antigravity AcademyCAPE (Coalition of Asian Pacifics in Entertainment)For more inspiring Satellite Sessions just like this one, be sure you are subscribed 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 guest host Tom Graham — the Head of Dolby Vision® Content Enablement — returns for the second installment of our ongoing series, “Conversations with Colorists,” where he discusses the nitty gritty of working as a professional colorist, especially for projects that deliver in Dolby Vision®. Joining the discussion are three of the top colorists working in film & television today — Tony D’Amore, Paul Westerbeck, and Frederik Bokkenhauser, all senior colorists at Picture Shop:https://pictureshop.com/“One thing you have to keep in mind is you still want to help tell the story. If somebody's standing in the kitchen and outside is a window that's really bright, you gotta be careful not to allow that to just blow out and overpower the scene. So it's a lot of shaping. You want to make sure the people aren't focusing on the window or the gardener outside. You’ve got to get the actress, who's standing in the kitchen, speaking. You gotta help to maintain that.”—Paul Westerbeck, Senior Colorist, Picture ShopLearn more about Dolby Vision® for Content Creators here:https://professional.dolby.com/content-creation/dolby-vision-for-content-creators/Dolby Vision® Training and Certification can be found here:https://prostore.dolby.com/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. 

What exactly are movie producers looking for when searching for new creative voices? Academy Award® nominated Director Carlos López Estrada (“Raya and the Last Dragon”) — and winner of the Dolby Institute Fellowship — returns with another all-star panel to discuss this very topic, with some of the top producers in the field. So if you are an aspiring filmmaker, screenwriter, director, or any of the above early in your career, this episode is filled with real-world advice for navigating the film industry as an emerging creative voice. Joining Carlos are producers:- Christina Oh, Producer, “Minari” - Poppy Hanks, Executive Producer, “Judas and the Black Messiah” - Michael Gottwald, Producer, “Beasts of the Southern Wild”- Andrew Hevia, Producer, “Moonlight” - Janet Yang, President of The Academy of Motion Picture Arts & Sciences / Producer, “The Joy Luck Club” and “Over the Moon.”“I try to see as much stuff as possible, then just reach out to people when something seems just really great. But a lot of it has, of course, been like: You work with one director, that director knows this other person [and] says, ‘you guys, you should talk.’ You then meet that person, you realize you love their work and you want to work with them [too]. Anything that makes your world smaller I think in this industry is super helpful.”—Michael Gottwald, Producer, “Beasts of the Southern Wild” This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.Antigravity AcademyCAPE (Coalition of Asian Pacifics in Entertainment)For more inspiring Satellite Sessions just like this one, be sure you are subscribed 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 Gareth Edwards joins us to discuss the 2024 Academy Award®-nominated sound of his visionary new dystopian sci-fi film, "The Creator.” The movie features some incredible work — including a glorious Dolby Atmos® mix — but with some unconventional sound design choices for a science fiction film about artificial intelligence and fully autonomous robots.Joining the director to discuss all this and more are sound designers and supervising sound editors Erik Aadahl and Ethan Van Der Ryn, along with re-recording mixers Tom Ozanich and Dean A. Zupancic.This is another of our in-depth conversations, which we were proud to conduct in person at our Dolby screening room in Hollywood. We were delighted to discuss the filmmaking process and the risky creative choices required to craft such a groundbreaking track.“The whole making of a film is [a] dance. You're on a razor's edge. You go slightly too much this way, it's really obvious and cliched. You go slightly too much this way, it's up its own arse and no one understands it. And you're just trying to do that knife edge the whole time. And the way you get there is not through being a really clever. To be honest, you pick a side to start on and then you go right up to the limit.” —Gareth Edwards, Director / Producer / Co-writer, “The Creator”Be sure to check out The Creator at a Dolby Cinema® to get the full experience in Dolby Vison® 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. 

What goes into building a soundtrack for a short film? And collaborating with a sound team when you’re dealing with a short time frame? And an even more limited budget?To help us answer those questions and more, Glenn moderates a panel discussion with some of the filmmakers from this year’s Aspen Shortsfest — which is, without question, one of the best film festivals in the world for short films and short filmmakers:- Madli Lääne, Director of “Dear Passengers”- Nikita Diakur, Director of “Backflip”- Luis Fernando Puente, Director of “I Have No Tears, and I Must Cry”This is a great discussion about the creative process of storytelling. And how that process translates into crafting a compelling soundtrack for a film… regardless of runtime!Sound teams for the short films:“Dear Passengers”Sound Designer - Markus AndreasComposer - Patrick McGinleyFoley Artist - Anna-Maria JamsFoley Recordist - Joonas TaimlaAdditional Sound Effects - Aleksandra Koel“Backflip”Sound Designer - David Kamphttps://www.nytimes.com/video/opinion/100000008901281/backflip.html“I Have No Tears, and I Must Cry”Sound Designer - Erik NaumannComposer - Jorge MurciaTeaser: https://vimeo.com/718108679Many thanks to the faculty and students of Colorado Film School, who filmed and recorded this panel discussion for us: Sound Recordist - Diana FloodCamera Operators - Tim Bulger, Wil Francis, Felicia Hettinga, Lucas LacyEditor - Quinton KaineProduction Assistants - Skylar McKelvey, Geneva SchaferInstructor, Post Supervisor - Matt BaxterInstructor, Production Supervisor - Aaron KoehlerAnd extra special thanks to Aspen Shortsfest:Susan Wrubel - Executive + Artistic DirectorJason Anderson - Shortsfest Program DirectorErin McVoy - Operations + Production DirectorRegna Frank-Jones - Head of Education Allie Wrubel - Program + Marketing ManagerRoger Ramos - Program + Education Coordinatorhttps://aspenfilm.org/our-festivals/shortsfest/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 Haunting in Venice,” the latest cinematic adaptation featuring novelist Agatha Christie’s fictional detective Hercule Poirot, starring and directed by Sir Kenneth Branagh, includes another unforgettable score by multiple award-winning composer Hildur Guðnadóttir. But unlike most of her other groundbreaking work, this score features a more “classical” approach — a creative decision stemming all the way back to Hildur’s childhood!“Having grown up reading Agatha Christie and Nancy Drew and Sherlock Holmes and all these classics, I had a really strong feeling for how I felt like this genre should be approached. And how I felt like it should not be approached. And [its] quite the opposite to most of my work, where I'm quite explorative of sounds and instrumentation and building instruments or building sample worlds or found sounds. I feel like the whodunit should really just be a classical form (laughs) that should not be tampered with.”—Hildur Guðnadóttir, Composer, “A Haunting in Venice”Our guest host, music journalist Jon Burlingame, returns to the Dolby Institute Podcast to speak with Hildur about her work on this film as well as her vast knowledge of music history from this period.Be sure to check out A Haunting in Venice, now in theaters, 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. 

Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — leads an all-star panel of independent filmmakers to discuss perhaps the biggest challenge of any director’s career: “The making of a first feature is really nothing short of a miraculous feat. There’s just so many elements that need to perfectly align at the right time in order for an emerging filmmaker to get a shot at telling their story. And we’re hoping that by having these very earnest conversations about what it took, and what it felt, to make a first feature by these directors, we can shed a little bit of light into a process that is so, so, so mysterious to so many emerging filmmakers.” —Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime”Joining Carlos are filmmakers:Sian Heder (CODA)Reinaldo Marcus Green (King Richard)Nikyatu Jusu (Nanny)Randall Park (Shortcomings)This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). For more inspiring Satellite Sessions just like this one, be sure you are subscribed to The Dolby Institute Podcast wherever you get your podcasts.Learn more:Antigravity AcademyCAPE (Coalition of Asian Pacifics in Entertainment)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 Neill Blomkamp joins us to discuss his thrilling new racing film and biopic, chronicling GT Academy winner Jann Mardenborough’s rise into professional racing. Joining the conversation are the film’s supervising sound editors, Kami Asgar and Erin Oakley, as well as re-recording mixer — and real-life race car driver — Beau Borders, who brought his personal experience from behind the wheel onto the mixing stage, to give audiences the most authentic experience possible. “Obviously I'm gonna want [the sound] to be realistic. I wanna honor race car drivers. I want car fans to watch the movie and feel like they're not being pandered to. But at the same time, it can't just be totally accurate. It also has to be hyperreal… When I do these car races and I'm all strapped in and the adrenaline's going, I'm convinced that the thing that I'm going through is the most exciting, amazing, wild thing that any human being other than an astronaut has ever experienced… Because that's what happens in your brain.” —Beau Borders, Re-recording Mixer, “Gran Turismo” Be sure to check out Gran Turismo, now playing in theaters. 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. 

SPOILER ALERT: This podcast discusses important plot points from episode three, “The Autopsy.”Executive Producer (and co-showrunner) J. Miles Dale joins us on the podcast to discuss the horror anthology series Guillermo del Toro's Cabinet of Curiosities, which was recently nominated for seven Primetime Emmy Awards. Joining the conversation are nominees: Supervising Sound Editor Nelson Ferreira, MPSE, and Director of Photography Anastas Michos, ASC, GSC.To avoid spoilers, be sure to watch “The Autopsy” before listening to this podcast! But be forewarned, it is extremely dark — both thematically and visually — which was entirely by design:“The genre is squarely within a horror/sci-fi mode. It is about what we don't see in life. That's what makes shooting horror films or thrillers so interesting. That we allow the audience to only see what we want them to see, and tease the rest of it into the blacks [of the image].”—Anastas Michos, ASC, GSC, Director of Photography, Guillermo del Toro's Cabinet of CuriositiesGuillermo del Toro's Cabinet of Curiosities is currently streaming on Netflix 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. 

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. 

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. 

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. 

Academy Award®-winning composer Ludwig Göransson returns to the Dolby Institute Podcast to discuss his 2024 Academy Award-nominated score for auteur filmmaker Christopher Nolan’s latest film, 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. 

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 action-spy series — 2024 Academy Award-nominee in the Sound category, “Mission: Impossible - Dead Reckoning Part One.”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. 

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. 

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. <laughs>”— 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. 

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. <laughs> 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. 

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 & 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. 

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. 

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! <laughs> 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. 

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. 

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. 

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. 

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. 

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. 

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: 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...

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. 

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. 

This week we sit down with the writer/director and sound team behind the harrowing new adaptation of "All Quiet on the Western Front." Joining director Edward Berger is sound supervisor and sound designer Frank Kruse, sound designer Markus Stemler, re-recording mixer Lars Ginzel, and production sound mixer Viktor Prášil. This film has been shortlisted for the Academy Award for Best Sound, and as Berger says in the interview, this team has a strong track record when it comes to winning sound awards in Germany. So this is definitely a film to keep an eye (and ear) on this awards season.During the conversation, Berger also discusses why he felt now was the ideal time to tackle this adaptation of the classic World War I novel, and how the team approached the sound design and mix for the film, which — to the director — was all about harsh contrasts and abrupt sound cuts:“The film is very much about contrasts. You mentioned the generals and the soldiers. Thematically that's one. But there's also: Destruction and peace, noise and silence, battle and exhaustion, wide shots and closeups, darkness and light. So a lot of it is in contrast. And I love abrupt sound cuts, really hard sound cuts, because they always shake me awake in the movie theater. I always go, ‘oh God, something changed.’ And I have to change pace and I have to listen up. So we had talked about and thought a lot about those contrasts and those hard sound cuts that lent themselves to a rich design, I think.”— Edward Berger, Writer/Director, “All Quiet on the Western Front” (2022)The film's Dolby Atmos® mix can be experienced in the Netflix app — with the German language track enabled — and in Dolby Vision® for compatible screens.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. 

The 2022 Sundance Grand Jury Prize winner was the first ever horror film to win the top award at the film festival. But before that, "Nanny" — the feature film debut from Nikyatu Jusu — was also the recipient of the 2022 Dolby Institute Fellowship, which awards a low-budget Sundance film with a post-production grant to finish the film in Dolby Vision® and Dolby Atmos®.Now that "Nanny" is available to stream on Prime Video, we recently sat down with writer-director Nikyatu Jusu, supervising sound editor Dave Flynch, and Academy Award winning re-recording mixer Skip Lievsay to discuss the film’s rich soundtrack. This episode was recorded during a live post-screening Q&A for the Artist Academy — Film at Lincoln Center’s program for young filmmakers — and was moderated by our executive producer Amanda Schneider.“We talked a lot about character arc for the soundscape… There is a tendency to neglect sound in the conception stage. And if you think about your soundscape as a character, then you can have an arc for that soundscape so that the audience doesn't become numb, with a relentless soundscape that is not ebbing and flowing.”— Nikyatu Jusu, Writer and Director, "Nanny"Be sure to check out "Nanny" on Prime Video.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. 

Two-time Academy Award winning director Guillermo del Toro and his co-director Mark Gustafson join us to discuss their latest work — appropriately titled — “Guillermo del Toro’s Pinocchio.” Despite being stop-motion animation, the film features a rich sound design and complex mix. One which the directors had to fight for.“Mark [Gustafson] and I had to fight for the time that we needed on the mix board originally, because [for an] animated movie, they gave us a number of weeks. And we said, ‘no, we need more.’ Scott and I knew that our timing generally takes a little longer. But I think that we ended up understanding that we needed as many passes as a live-action movie — a big one — to reach simplicity. Which is very, very, very at odds. To be simple, we needed to elaborate the mix and make sure we were not mixing something superficial.”— Guillermo del Toro, Director, “Guillermo del Toro’s Pinocchio”Joining the discussion is sound supervisor Scott Gershin, along with re-recording mixers Frank A. Montaño and Jon Taylor, the latter of whom you may remember from our episode on BARDO from earlier this week. Be sure to check out “Guillermo del Toro’s Pinocchio,” now streaming on Netflix, 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. 

Multiple Academy Award winning director Alejandro G. Iñárritu joins us to discuss his latest work, the surreal, yet somehow pseudo-autobiographical film, “BARDO, False Chronicle of a Handful of Truths.” Since this episode focuses almost exclusively on the sound of the film, joining the conversation is much of the film’s sound team:Martín Hernández - Supervising Sound Editor and Sound DesignerSantiago Núñez - Production Sound MixerJon Taylor - Re-recording MixerKen Yasumoto - Re-recording Mixer and Sound DesignerWhile the film is truly a visually stunning epic, the director focused much of his attention on the audio, because, as he put it:“I really think that this film is — audio, 75% [of the experience]… It's my favorite film, audio-wise, by far. I think it's a much more complex and difficult film than I have done. And the work that this team did is invaluable. And the experience of the audio in Dolby Atmos — you can close your eyes and really understand and feel the film. So I think the job that this team did is absolutely extraordinary. I'm very happy with it.”— Alejandro G. Iñárritu, Director and Co-writer, “BARDO, False Chronicle of a Handful of Truths”Be sure to check out “Bardo,” available on Netflix starting on December 16th, 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. 

Director Ron Howard joins us to discuss his thrilling new film, “Thirteen Lives,” a harrowing dramatization of the real-life rescue of thirteen young Thai soccer players who were trapped in a flooding cave in 2018. Joining the discussion is much of the film’s post-production team:Rachael Tate, Supervising Sound EditorOliver Tarney, Supervising Sound Editor/Sound DesignerChris Burden, Re-recording MixerWilliam Miller, Re-recording MixerJames D. Wilcox, EditorAuthenticity was the name of the game and the entire filmmaking team took great pains to make this film as historically accurate as possible.“It was great having [the actual rescue divers] Rick Stanton and Jason Mallinson around [set] because they were not only there to help make sure that the diving was accurate and that the divers’ technique was right, and that we understood what the threats and the complications were, and the procedure of it all. But… they're not guys that dwell on emotions very much as individuals. Nonetheless, on the day that we were actually shooting the scene [where they first discover the boys] with the flashlights, I just remember Rick talking about he wasn't sure he'd ever see those boys again. He knew he was leaving them in the dark and… he just thought it was a hopeless scenario and he was pretty shattered by that. And I just thought, ‘leave them in the dark.’ Making a moment that will allow that sort of focus. The flashlights kind of coming out [and] just slowly disappearing until we were in the complete darkness.”— Ron Howard, Director, “Thirteen Lives”Thirteen Lives is available to stream right now on Prime Video.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 Ryan White and Academy Award-winning sound designer Mark Mangini join us today to discuss the making of “Good Night Oppy.” This charming new documentary tells the story of the two Mars rovers, Spirit and Opportunity, which were sent to the red planet back in 2003 and were expected to survive long enough to collect data for — hopefully — 90 days. Instead, they blew everyone’s expectations away and one of them, nicknamed “Oppy,” lasted over 15 years. The filmmakers had the advantage of almost a thousand hours of archival material from NASA, but since much of the film takes place “on Mars,” that came with its own unique challenges.“I didn't want it just to be an earthbound story. I wanted it to also take place on Mars. And I didn't want that just to be like grainy black and white photos. And so I asked [our production company] Amblin, ‘is it possible to put the audience on Mars, almost as if I could be there with my documentary crew during this adventure, in a way that is photoreal?’ And Amblin said, ‘we don't know, but luckily our best friends are Industrial Light and Magic.” … Spirit and opportunity each had nine cameras. We know what every day of their journeys looked like. And so we were able to supply all of that photography and all of the data that NASA could give us. So for instance, the weather, where the sun rose and sun set on a day, or how much dust was in the air on a certain day that Spirit was going through. And we asked Industrial Light and Magic, ‘can you take all of this information, all of this data, and create a photoreal Mars?’ And they said, ‘we've never done that before, but we love a challenge. We will build Mars from the ground up for you.’”— Ryan White, Director, “Good Night Oppy”Mark Mangini, who worked as the film’s sound designer, supervising sound editor, and re-recording mixer, then had the unique challenge of “recreating” what exactly those machines and environment might have sounded like on Mars… but without the benefit of microphones on any of the rovers. But as always, he was able to craft an incredible soundtrack and mix in Dolby Atmos®.Be sure to check out “Good Night Oppy,” now streaming on Prime Video in 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. 

Director Joseph Kosinski and his sound team discuss their groundbreaking work on the hit sequel to the classic 80s film "Top Gun." Joining the discussion are re-recording mixers Chris Burdon and Mark Taylor, as well as supervising sound editors James Mather, Al Nelson, and Bjørn Schroeder. Since most of the movie's flight scenes were filmed practically (or "in-camera") without relying on too many visual effects in post-production, this created some unique challenges for the sound team. “It was a great catching up with [production sound mixer] Mark Weingarten after he was done with the shoot. And I know that he had a lot of challenges in the beginning just to get those recorders into the cockpit because they had to go through a lot of different steps to ensure the safety. They had to make sure that they could still use the ejector seat just in case of an emergency. So this little recorder had to eject with them, they had to be separate from the cameras. I think it was really important to [director] Joe [Kosinski] and [producer] Tom [Cruise] and everyone in the crew that they could keep it simple and that they could basically trigger the recording before they took off and do all the recordings.” — Bjørn Schroeder,  Supervising Sound Editor, "Top Gun: Maverick""The truth of flying in these airplanes is: They're not that interesting to listen to. When you're inside doing it, it looks spectacular and it feels incredible; and from the outside these jets are deafening and have so much character, depending on where it is relative to you and how fast it's moving. But from the inside, it's very much like riding on an airliner. It's that kind of constant hum. So a big challenge of this film was figuring out, 'okay, that's reality. So we've got this really realistic image that was captured, but how do we get the emotion that we wanna feel from the soundtrack in this?' And that is not easy. There was a lot of — obviously — work and effort from design through mixing to achieve that. And luckily we've got a whole panel full of experts here to take us through that."— Joseph Kosinski,  Director, "Top Gun: Maverick"With Awards Season fast approaching, this is certainly a film to look out for in the Best Sound category, and this episode offers a unique insight into just how much went into crafting such a thrilling and dynamic mix.Check out "Top Gun: Maverick" today, available in Dolby Atmos® and Dolby Vision®, 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. 

Director and co-writer Ryan Coogler joins us to discuss the making of the latest addition to the Marvel Cinematic Universe — Black Panther: Wakanda Forever. Joining the discussion is the film’s composer Lugwig Görannson, supervising sound editor and re-recording mixer Steve Boeddeker, supervising sound editor Benjamin Burtt, and re-recording mixer Brandon Proctor.This is the first Black Panther movie since the sudden and tragic death of its star, Chadwick Boseman. But as the title implies, the filmmakers hope this film is both a fitting tribute to him as well as a reminder that he and his work live on in these powerful films.“What I hope audiences take away from it is how much we love Chad [and] how much we missed him. For us, Chadwick and T’Challa are linked because that was the circumstance by which we got to meet this great guy. It was through bringing his character and this world to life. So for us, it's always gonna be a link there that we can't ignore. So I hope all the audiences understand how we felt about this guy. But in a more expansive sense, just because somebody's dead doesn't mean that they're gone. They feel him and feel what he was about because his effect is still there. I think it's gonna be around forever.”— Ryan Coogler, Director and Co-Writer, Marvel’s Black Panther: Wakanda ForeverBe sure to check out Marvel’s Black Panther: Wakanda Forever in theaters now, and 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. 

In this special, supersized episode we take a peek behind the curtain to examine Pixar's unique editorial process. It's often messy and non-linear, with shots and sequences constantly being re-worked... and this might just be the secret to why their films end up feeling so cinematic and have the emotional impact that they do. At Pixar, the editor has much more authority and responsibility than their live-action and traditional cell animation counterparts. How did this come to be?It's all outlined in a new book by authors Bill Kinder and Bobbie O'Steen, "Making the Cut at Pixar: The Art of Editing Animation." Bill and Bobbie join us today to discuss the history of editing at Pixar, and explain the origins of Pixar's groundbreaking editorial process. "If you look at Pixar short films, before they had an editor — all of the ones before 'Toy Story' had no editor, really, they [just] had someone assembling things — they're very classic proscenium, 2D animation... You don't see shot/reverse shot in classic Disney animation. It's just not the way the grammar really worked. Whereas if you watch 'Toy Story,' and that was my memory when I first saw that film — it felt like a movie! And I think that difference, that turning point has to do with the editor saying, 'Wait, we can create shots here. There's a certain language we can use. We're not stuck with the storyboards.' So storyboards are telling us a lot about character and performance and plot and clarity, but now we can up the whole game with what we know about the language of camera."— Bill Kinder, Co-Author, "Making the Cut at Pixar: The Art of Editing Animation"Joining the discussion are couple of legendary filmmakers — both of whom had been there since the very early days — multiple Academy Award® winning director Pete Docter and another multiple Academy Award® winning director and editor, Lee Unkrich. Rounding out this conversation we also hear from longtime collaborator and editor of Pete Docter's, Kevin Nolting, and editor Edie Ichioka, who worked on "Toy Story 2," to give their perspectives.You can find "Making the Cut at Pixar: The Art of Editing Animation" wherever books are sold.AmazonBarnes & NobleTo check out many of the Pixar films discussed in today's episode, subscribe to Disney+.Please subscribe to Sound + Image Lab: 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. 

NOTE: This episode contains spoilers.We are back from a short break, as we’ve been working on a couple of very big episodes. But in the meantime, we had the privilege to speak with Michael Giacchino, the director of Marvel’s “Werewolf by Night,” a super fun and spooky “television special” on Disney+, perfect for this Halloween season. Joining us for the discussion is much of his post-production team: Re-recording Mixer Juan Peralta, Editor Jeff Ford, Supervising Sound Editor Josh Gold, and Dialogue and ADR Supervisor Chris Gridley. Maybe it’s because Giacchino, one of Hollywood’s top film composers, is usually a member of the post team, but his rapport with his crew is apparent in this lively discussion. Clearly this team had a blast working together and that infectious spirit continues here.We discuss the challenges of making a modern Marvel film in a Classic Hollywood “creature feature” style, the directorial advantages of being your own composer, that wild flame-throwing tuba, and so much more.“I even had some music that I had written that was going to be in the movie itself, thematically. And so I could play that for the actors and just have the sense of tone — so they'd get it immediately. It's something weird about music, the moment you hear it, it puts you in a place, you know? And so it was nice to have that. So that helped me figure out tones on set the entire shoot, for it was always in my head.”— Michael Giacchino, Director, Marvel’s “Werewolf by Night”Very special thanks to our friends at Disney, Marvel, and especially Skywalker Sound, who were instrumental in pulling this conversation together for us.Be sure to check out Marvel’s “Werewolf by Night” this spooky season, available now, exclusively on Disney+, in Dolby Vision® and Dolby Atmos®.Please subscribe to Sound + Image Lab: 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. 

NOTE: This episode features clips mixed in Dolby Atmos®. For best results, please listen to this episode with headphones!Podcasts have exploded in popularity in recent years, and creators have been exploring new ways to create fully-immersive experiences for their listeners. In today’s episode, we speak with a few of the companies that are on the cutting-edge of crafting a truly cinematic experience for audio storytelling in podcasts, from QCODE and Wondery, the latter of which is now delivering podcasts in Dolby Atmos® — for a next-level listening experience — via the Wondery+ app. This innovation has made it possible to drop a listener directly into the world of a podcast like never before.“The beautiful thing about mixing in Atmos is you're really designing in a spatial environment. Our team is able to think about how objects sound around the listener in a spatial environment that's additive to the storytelling. So it's not just about that mono experience, let alone stereo. But really, we try to be thoughtful about how we use the technology to enhance the storytelling and immerse a listener into the actual world of the story.”— Steve Wilson, Chief Strategy Officer, QCODEThroughout this episode, we have included several clips of recent shows, which were all mixed in Dolby Atmos®, so you can experience just how immersive this technology can make a podcast feel. So, please, if you can, listen to this episode with headphones.How to listen to podcasts in Dolby Atmos®.Check out the free trial of Wondery+.FEATURED in today’s episode, all of these podcasts were mixed in Dolby Atmos®:- “Electric Easy”- “Jacked”- “Listening In” - “Soft Voice”- “Who Killed Daphne?”Hollywood Reporter - “Wondery to Release Podcasts in Dolby Atmos Format,” by Carolyn Giardina.Please subscribe to Sound + Image Lab: 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. 

If you caught the last installment of the Thor franchise, then you already know that director Taika Waititi has taken this particular series in the Marvel Cinematic Universe into a considerably more comedic direction. And Thor: Love and Thunder continues that trend. This film has some very funny sound moments, including a jealous battle axe, Russell Crowe doing an over-the-top Greek accent, and a pair of screaming goats. Literally. But how does creating a soundtrack for comedy — and specifically a superhero comedy — differ from crafting a typical superhero action movie? Joining us to discuss that on today's episode are the film's re-recording mixers Onnalee Blank and Brandon Proctor, supervising sound editors Daniel Laurie and Baihui Yang, and sound designer Samson Neslund."We were like, 'well, how do we make that sound fun and magical and ridiculous, but still be grounded somehow? And actually feel like it's a boat?' I mean, that goat boat is ridiculous. And of course the goat [is] screaming. They're just screaming throughout the whole film. And we kept talking like, 'is it gonna be too much screaming? Do we outplay that joke?' You just never could get enough screams. You just need more. And [supervising sound editor] Baihui [Yang] would laugh every time a scream happened. [So] you're like, 'nope! Still working.'"— Brandon Proctor, Re-recording Mixer, Thor: Love and ThunderThor: Love and Thunder is in theaters now! And be sure to check it out in Dolby Vision® and Dolby Atmos® where available.Please subscribe to Sound + Image Lab: 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. 

Quick Content Warning: There is some colorful language in this podcast episode. Listener discretion is advised.Season 3 of the eleven-time Emmy winning series LOVE DEATH + ROBOTS hit Netflix on May 20th and we are delighted to sit down with creator Tim Miller, supervising director Jennifer Yuh Nelson, and supervising sound editor Brad North to discuss how they managed to succeed where so many others have failed — creating a hit anthology television series."It really comes down to who's doing the shorts. There's been a lot of care trying to match-make: The shorts, the stories, the directors, and the studios. You've got a whole lifetime of experience with people and studios that Tim has worked with at Blur. People that have been doing incredible content, that maybe haven't had the opportunity to do a feature yet, because of the size and experimentalism of that particular place. And to be able to hook them up with really good, solid stories that they can put all of their effort into making that, actually, great. You're not spinning a lot of wheels here. You're doing amazing. Everything goes right to the screen."— Jennifer Yuh Nelson, Supervising Director, LOVE DEATH + ROBOTSBe sure to check out LOVE DEATH + ROBOTS, only on Netflix.Please subscribe to Sound + Image Lab: 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. 

The latest season of "Stranger Things" finally returned to Netflix on May 27th and we are so excited to sit down with the creators of the show, along with several key members of the post-production team, to discuss the sound, music, and editorial process behind this wildly successful series. This is a supersized episode of the podcast with a TON of bonus guests. Joining us are the creators (as well as writers and directors) Matt and Ross Duffer; composers Kyle Dixon and Michael Stein; re-recording mixers Mark Paterson, Craig Henighan (also the sound supervisor), and Will Files (also the supervising sound editor); and the editor of the series, Dean Zimmerman.This conversation offers an incredible glimpse into the creative process of what makes "Stranger Things" work so well. And it's apparent from this conversation that it has a lot to do with how much this team trusts each other in order to work so seamlessly together."Yeah, there's a lot of people who work on the show. But in terms of making big, big decisions, say in post-production, shaping the sound and the music of the show, it's a pretty, actually, tight knit group. And I think we've all gotten to the point where we really respect and trust each other. And then it's just a creative collaboration... It feels weirdly the same as it did season one."— Matt Duffer, Co-Creator, "Stranger Things"Be sure to check out "Stranger Things," only on Netflix.Please subscribe to Sound + Image Lab: 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. 

The newest and final installment of the Jurassic World franchise roared into theaters on Friday and we are delighted to share this conversation with director Colin Trevorrow and his sound team, to discuss how they crafted the soundtrack to this latest dinosaur Summer blockbuster. On today's podcast:— Colin Trevorrow, Director and Co-writer — Christopher Boyes, Re-recording Mixer — Pete Horner, Re-recording Mixer — Al Nelson, Sound Designer and Supervising Sound Editor — Gwendolyn Yates Whittle, Supervising Sound Editor Jurassic World Dominion features another monstrous soundtrack that these dinosaur epics are known for. But as you might have guessed, keeping those big action set pieces sonically coherent enough for an audience to actually enjoy is a very complicated, but also enjoyable, challenge for the sound team."One thing that we take for granted as humans, when we walk into a chaotic environment, our brains are actually mixing that environment for us. Where what we choose to focus determines what we're actually hearing. In a theater, we have to do that for the audience. If we just put all the sound in, then you don't hear anything — because it's chaotic and our brains are not able to do that in a theatrical setting. So as mixers, Chris and I are collaborating, trading off, 'OK, this is a moment for dialogue. This is a moment for dinosaurs...' And then in the midst of it, somehow there's an orchestra playing. And so we have to also make room for themes, which are incredibly important to how you experience the scene and feel about it. So that's the challenge and, honestly, the excitement of doing a scene like that. You have everything at your fingertips and you have to decide, 'What are we hearing here? What are we hearing here?' So it's really fun."— Pete Horner, Re-recording Mixer, Jurassic World DominionBe sure to check out Jurassic World Dominion in theaters, and ideally at a Dolby Cinema, near you!https://www.jurassicworld.com/Please subscribe to Sound + Image Lab: 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. 

Legendary sound designer and re-recording mixer Gary Rydstrom joins us once again, this time to discuss his groundbreaking work on Steven Spielberg's classic film, "Jurassic Park" (1993), ahead of the upcoming premiere of the final film in the franchise — "Jurassic World: Dominion." Amazingly, even nearly 30 years later, Rydstrom's work on the original film still holds up incredibly well."I have a theory that — especially in the early days of computer graphics — sound needed to be real. Even more so, like real sounds. Synthesized sounds are hard to do [and] not so interesting, usually. So I knew we needed to be real. But in this case, it has to ground visuals that you can't believe, right? So the sound had to be organic and real. So the first thing I did is record as many animals as I could."— Gary Rydstrom, Sound Designer and Re-recording Mixer, "Jurassic Park" (1993)Rydstrom and his team recorded dozens of animals and layered those tracks together to create the unforgettable sounds of the dinosaurs, as showcased in the behind-the-scenes documentary: "The Making of 'Jurassic Park,'" directed by John Schultz, which we feature in today's episode:https://www.imdb.com/title/tt0256908/"Jurassic World: Dominion" will be available in theaters on June 10th in Dolby Vision® and Dolby Atmos®, where available.https://www.jurassicworld.com/Please subscribe to Sound + Image Lab: 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. 

On today's episode, we welcome the filmmaking team behind the new 3-part documentary about Kanye West from directors Coodie Simmons & Chike Ozah, which debuted at this year's Sundance Film Festival and is now available on Netflix.This film features some of the most intimate and vulnerable footage you may ever see of the iconic and enigmatic hip-hop star. It's clear that Kanye gave the filmmakers not just unprecedented access to his personal life, but also a great deal of his trust."Kanye was always my brother. We had like 500 hours of footage on Kanye, but it was years of us being connected, you know what I mean? So it was more than just filming... It was a relationship. He was definitely a little brother, which I always wanted. I think I found a little brother in Kanye."— Coodie Simmons, Co-Director, "jeen-yuhs: A Kanye Trilogy"Joining the conversation is re-recording mixer Paul Hsu, to tell us how he crafted such an incredible soundtrack, often from single audio sources and decades-old videotapes.Please subscribe to Sound + Image Lab: 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. 

Part two (of two) of our exclusive, in-person interview with the filmmakers. If you missed part one, be sure to check out that episode (#121) from earlier this week, which you can find wherever you get your podcasts.Joining us again are directors Daniel Kwan and Daniel Scheinert (known collectively as "Daniels"), as well as the film's sound designer and sound effects editor, Andrew Twite, and the re-recording mixer and sound supervisor, Brent Kiser.Today we're devoting the entire episode to the music of "Everything Everywhere All at Once" because it was such an intensive process. So much so that the composers, the indie band Son Lux (comprised of members Ryan Lott, Ian Chang, and Rafiq Bhatia) spent an unusually long time working very, very closely with the filmmakers on this project:"They came on before we started photography. They helped us write some songs that needed to be on camera. Like the fake musical and stuff. They gave us their entire library of all their personal projects, as well as all their records [and] instrumental versions. And we cut the whole movie to their music. And then they were on during the whole edit, working on the score. So they were part of the project for over two years and created over two hours of original music."— Daniel Scheinert, co-director, co-writer, and co-producer, "Everything Everywhere All at Once"If that sounds like a lot, that's because it was. As part of this episode, we also speak with Ryan Lott, the founding member of Son Lux, to describe his journey working on this film and all its many parts, including crafting different musical styles for each multiverse, collaborating (and singing a duet!) with Randy Newman, as well as discovering the artistic potential of working in Dolby Atmos®."There were times where we were very specific about 'the front wall' and keeping most things really focused on the front wall. And then, finding moments and specific elements too that could basically embrace you, sonically. And I started to think, during that mix, how that is a musical choice. That's an artistic choice. That's not just a technology choice. That's not just an engineering thing."— Ryan Lott of Son Lux, composer, "Everything Everywhere All at Once"Be sure to check out "Everything Everywhere All at Once" at a cinema near you, now playing in Dolby Atmos®, where available.Many thanks to our friends at A24 for helping us pull this conversation together! If you enjoyed this two-part conversation with the filmmakers, please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts, as we have many more episodes just like this one coming up in the near future!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.