Hi sound lovers :) I'm analyzing the sound of Malik's masterpiece but i'm a bit confused about who between John Fasal and Claude Letessier is the main sound designer. Do you have any clue? IMDB doesn't answer this "simple" question.
May the sound be with you
Giacomo
Here you go, folks. There may be some answers for you in this article:
The only way to find out it to talk to somebody who worked on the show.
Credits can be VERY misleading. I worked on a show with a "sound designer" credited who literally did nothing on the show. Other films I have worked on people credited as FX editors did design work. The line between the two is blurry to begin with.
I'll bet you a dollar that on this one there was a person responsible for weapons, perhaps another responsible for vehicles, maybe another for aircraft, another for atmosphere and ambiances, another maybe did whooshy special fx kinda stuff with Paul overseeing everything.
I could be completely wrong. There could of been one main guy creating sounds with other people cutting his stuff. But This one had a lot of stuff going on.I seriously doubt that there was one guy responsible for everything in this big beautiful film.
A lot of big shows will have the supervisor assigning different areas of the sound to different people depending on their strengths.
Paul Huntsman (RIP) was the supervising sound editor on TRL. John Fasal may have created some sound design sequences or elements but I'm assuming his main role was as a recordist for all of the weapons, artillery, bullets, etc for the film. I'm not familiar with Claude's work or credits.
Have you checked the rolling credits?
I'm assuming this based upon you mentioning you're analyzing the sound, and likely you'll need a cut of the film to watch if that's the case ;)
There was a good Mix Magazine article about Thin Red Line when it came out. It may be archived on their site. I know I still have that back issue close by in my studio someplace.
Not an answer but another question since we're on the topic. Does anyone remember reading articles about the location sound and final mix?
I remember reading an article about how the sound recordists spent months after the film to capture ambiences and particularly birds. Being an avid ornithologist, Malick made sure the birds were all on the right kind of trees when they went for the sound mix. I positively remember reading all these but I haven't been able to find that article since. Does anyone have any leads on that?
Someone else yesterday replied me on another sound design social space that Fasal did the main sound design for the film, whereas Letessier supervised the sound for Zimmer. Anyway i do agree with @Chris; probably I'll never know :P
