I’’ve put this post in the Composing Lounge, as it covers the music production for Ryan Coogler’s ‘Sinners’ as well as sound and music recording.
When I went to see the film, one of the things that had the biggest impact on me was the sound. I loved every aspect of it, from the songs to the ambience and atmosphere of the Juke Joint.
“Working with composer Ludwig Göransson, the sound team of supervising dialogue and ADR editor David Butler, music editor Felipe Pacheco, production sound mixer Chris Welcker, re-recording mixer and sound designer Steve Boeddeker, supervising sound editor Benjamin Burtt, and re-recording mixer Brandon Proctor have created one of the most sonically expressive and powerful movies ever made.
From Göransson’s point of view, it all started with Coogler’s observation that existing recordings of the Delta blues clearly lacked the technology to accurately capture the incredible sounds musicians in the 1930s were making — so how does one compose and record that music now in a way that gives the audience the same feeling people had hearing the music live in its era? For Göransson and the sound team, one solution was to record as much of the music live on set as possible — something that required some clever problem-solving for scenes like an early set piece at a train station.”
What did you enjoy most about the sound and music of ‘Sinners’?
https://www.indiewire.com/awards/consider-this/sinners-sound-and-music-m...
1 person likes this
I enjoyed the story, the acting, the cinematography, the music, and more, Geoff Hall! It's hard to pick a favorite thing. The music made me feel like I was back in that time period. The story, acting, etc. did too.
1 person likes this
Maurice Vaughan agreed, Maurice. It was a totally immersive experience. In fact, we talk a lot about immersive cinema and I think we should use ‘Sinners’ as an exemplar when we talk about this.