#ren klyce

[crystalspond]

turning red (2022) dir. domee shi

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[mymoviemania-oscar-2021]

Mank (2020), directed by David Fincher, written by Jack Fincher;

Gary Oldman as Herman J. Mankiewicz; Amanda Seyfried as Marion Davies

Nominations for the 93rd Academy Awards:

1. Performance by an actor in a leading role Gary Oldman

2. Performance by an actress in a supporting role Amanda Seyfried

3. Achievement in cinematography Erik Messerschmidt

4. Achievement in costume design Trish Summerville

5. Achievement in directing David Fincher

6. Achievement in makeup and hairstyling Gigi Williams, Kimberley Spiteri and Colleen LaBaff

7. Achievement in music written for motion pictures (Original score) Trent Reznor and Atticus Ross

8. Best motion picture of the year Cean Chaffin, Eric Roth and Douglas Urbanski, Producers

9. Achievement in production design Production Design: Donald Graham Burt; Set Decoration: Jan Pascale

10. Achievement in sound Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin

[desertcirce]

‘Star Wars: The Last Jedi’ Sound Designers Break Down That Big Silent Moment (article)

The ninth installment of Hollywood’s most successful space saga features one of its most unusual and compelling moments when “Star Wars: The Last Jedi” director Rian Johnson tries something that none of the previous films attempted: silence.

For the film’s release, some movie theaters even posted signs warning audiences that approximately one hour and 52 minutes into the movie, all sound stops for 10 seconds and to not be alarmed, as the effect is intentional.

“When we heard about this, we got a big kick out of it,” says sound designer Ren Klyce, who served as a co-sound supervisor alongside supervising sound editor Matthew Wood, with both collecting a recent Oscar nomination for sound editing. Klyce also shares an Oscar nom on the film for sound mixing with Stuart Wilson, David Parker and Michael Semanick.

The scene in question finds Vice Admiral Holdo, played by Laura Dern, sacrificing her life by flying a spaceship at light speed directly into a Star Destroyer to allow Resistance escape pods to flee from certain doom. “It was a very tricky sequence where our picture editor, Bob Ducsay, converged three dramatic plot points — Kylo and Rey battling the Praetorian Guards, Finn and Rose being captured on Canto Bight and the Resistance trying to escape — into one climactic moment,” says Klyce. “Bob allowed us to figure out the timing of the sound design, which was building through John Williams’ score. When Holdo jumps to light speed, she splices through the ship, the ship explodes and then there’s an absence of sound immediately after. In a way, it ties them all together.”

Also new to the franchise are the Force connection sequences that Kylo and Rey use to speak to each other across the galaxy. To accomplish that, the sound department took dialogue, reversed it and ran it through different reverbs and delays, then flipped those sounds again and edited them so it felt as if they were approaching from a great distance before dropping off into silence — giving the audience the impression the two characters were connected. Voices were also panned around speakers to add a swirling effect.

Sound went a step further in the fight sequence between Kylo and Luke Skywalker at the film’s climactic ending: Effects were removed to push the story subliminally. “We used a bit of smoke and mirrors in the soundtrack when everyone looks up to see Luke walk in, but in reality, he doesn’t make a sound; he’s completely silent. No foley, nothing,” says Klyce. When the two face off with lightsabers, Skywalker doesn’t leave any footprints, nor can you see snow land on his body. “We had some deep conversations about what sounds should and shouldn’t be heard for Luke’s Force projection — and ultimately made the jump and said the lightsaber is going to make sounds.

[ionlyknow1truth-blog]

'Star Wars: The Last Jedi': How Kylo Ren and Rey Skyped Across the Galaxy

BY: CAROLYN GIARDINA

Ren Klyce, nominated for sound mixing and sound editing on the film, reveals how he and his team created that intergalactic connection between the movie's two antagonists.

When Skywalker Sound’s supervising sound editor, designer and rerecording mixer Ren Klyce first read director Rian Johnson’s script for Star Wars: The Last Jedi, he knew some challenging work would be required for sequences during which Kylo Ren (Adam Driver) and Rey (Daisy Ridley) share a unique connection, communicating across the galaxy.

“We read the script and said, ‘OK, this is going to be interesting,’ and one of the first things that we asked Rian was how he wanted it to sound,” says Klyce, who is Oscar-nominated for both sound editing and mixing. “It took a long time to arrive at that, but the first thing was that he wanted Rey and Kylo to feel like they were connecting over the vastness of the galaxy. It’s not just the internet. It’s something spiritual; it’s the Force.”

Klyce mixed 2017’s The Last Jedi at Skywalker Sound in Northern California. __________________________________________

He adds that it was important to Johnson that the adversaries’ voices “felt organic and that they were approaching you from a great distance. So it’s not just, ‘Hi, hi, hi,’ it’s ‘Hiiiiiiiiii.’ It’s coming at you from across the galaxy.”

Getting the right sound involved a lot of experimentation, from processing the voices to creating sounds that would “cut off to introduce the voices,” says Klyce. “We created these backwards-into-forwards motions, and it took a while to do.”

Klyce also panned the vocals, meaning that in the theater, the audience “could feel [them] coming from the left, the right, all around. And there’s many layers. There’s the reverb, and we found this wonderful sound that was like the big echo in a church, but then we’d flip it around backwards so it was the sound coming at you and then going away.”

Adds nominated supervising sound editor Matthew Wood: “You have dialogue coming in, and sometimes the dialogue is fully in the back [of the theater], and that’s pretty bold.”

Fisher’s Leia recorded a hologram of herself with R2D2’s help in the 1977 Star Wars. _________________________________________

Wood also revealed a fun fact for fans: In The Last Jedi, R2D2 replays for Luke (Mark Hamill) the forgotten Leia “Help me, Obi-Wan Kenobi” hologram, which originally appeared in 1977’s Star Wars.For the sound in the scene, the team started by locating the original tape of Carrie Fisher’s recording in the company archives. “Then, rather than doing a digital process on it, we recorded it to an analog piece of tape — people might not know what that is anymore — but we recorded it on that piece of tape a bunch of times then dragged it through the dirt at Skywalker Ranch,” he says with a laugh. “We crumpled it, crushed it, threw it in a lake, rubbed rocks on it, distressed it and tied it to a car and drove it around.”

After all that, says Wood, the tape finally sounded like it was a century old.

(All photos are courtesy of Lucasfilm)

-THE Hollywood REPORTER

[finchers-ipad]

Behind the scenes of ‘The Killer’s’ sound design!!

[crystalspond]

turning red (2022) dir. domee shi

reblog or like if used <3

[desertcirce]

[Does a particular scene stick out?] There was one scene where Rey ignites the lightsaber for the very first time on Jedi Island, and there we did change the balance within the music. She’s on the cliff by the ocean and Luke is watching her as she’s swinging the lightsaber. Right when she ignites the lightsaber, her theme comes in, which is this beautiful piano melody. The problem was when they mixed the piano they didn’t have a really loud lightsaber sound going with it. We were really struggling because we couldn’t get that piano melody to speak right there. I asked Ramiro if there was any way to get that piano separately because I would love it if we could hear that theme come in just as strong as that lightsaber. Those are the types of little tiny things that we would do, but those are few and far between. For the most part, the score is how John and Shawn intended the mix to be.

Ren Klyce, The Last Jedi (Oscar nominee 2018 for sound editing)

[solid-six]

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