!["Making Waves: The Art of Cinematic Sound" A masterpiece documentary directed by the sound editor himself Interview with director Midge Costin [Director's Interview Vol.85]](https://cinemore.jp/images/a4a23e878d54616d040c5e727072c2e522f65656ba1191d104b7abeb5332ae46.jpg)
"Making Waves: The Art of Cinematic Sound" A masterpiece documentary directed by the sound editor himself Interview with director Midge Costin [Director's Interview Vol.85]
Why does Christopher Nolan remain stuck on 5.1ch?
Q: What aspects did new directors such as Ryan Coogler, director of Black Panther (2018), focus on when they decided to have them appear in this film?
Costin: Ryan was my student at USC. Before he started working on his directorial project, he came to my class and said, "I wanted to study in advance because it was an area I didn't know." He is a wonderful person and full of talent, and I could tell from his attitude in class. Because he values the sound of movies so much, I really wanted him to appear in this film.
He also met fellow composer Ludwig Göransson during his first semester at the school. Ludwig also attended USC and scored Ryan's directorial debut at the school. They are both incredible collaborators and have a deep understanding of the power of story, character and emotion.
Q: Speaking of Goransson, you also interviewed Christopher Nolan, for whom he composed the music for Tenet (2020). By the way, why does Nolan pursue such a realistic visual experience, yet his own sound format remains stuck at 5.1ch?
Costin: Nolan cares a lot about sound. His sound designer, Richard King, is amazing. Nolan knows what he wants and he doesn't stray from that idea. Maybe he's so attentive to every detail of the film that he doesn't have time to try different sound-related methodologies. The more multi-channel a film is, the more complicated the process becomes.
By the way, I went to see Nolan's new movie at the Chinese Theater on the opening weekend, and he always visits the movie theater to check if there are any problems with the sound and picture, especially to make sure the sound is not turned down.
Q: You have received comments from many famous filmmakers, but if you were to ask a dead person to talk about sound, who would you nominate? Stanley Kubrick was known for his attention to sound, so I think he is one of the prime candidates.
Costin: Kubrick is the best. If I were given the opportunity to talk to directors who have already passed away, I would also be very interested in the sound approaches of other predecessors such as Akira Kurosawa, Alfred Hitchcock, and Orson Welles. Other directors I wanted to interview but didn't get the chance to interview are Kathryn Bigelow, the Coen brothers, Martin Scorsese, Spike Lee, Terrence Malick, and Jane Campion.
As more and more people watch movies outside of theaters, sound becomes even more important.
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