February 21, 2019, 06:45 AM
hen we think of Academy Award-winning sound design, 2017’s bombastic Dunkirk score by Hanz Zimmer or 2016’s haunting Arrival soundtrack (Jóhann Jóhannsson) come to mind, but the 2019 Oscars may surprise us by rewarding a compelling new trend in cinematic sound: the absence of sound itself.
Cindy Mollo sits down to discuss the editing of Ozark.
Greg O'Bryant sits down with Gordon to discuss the editing of Brand New Cherry Flavor for Netflix an...
Yan Miles sits down to discuss editing The Crown's hit episode Fairytale.
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