Sound Perspective

The Big Dog is playing at a cinema near you! Tickets available here https://www.2cpictures.com/films/thebigdog Dane McCusker is a director in Sydney, whose debut feature The Big Dog is about to start its theatrical release after sold-out sessions at Sydney Film Festival. The Big Dog is a dramedy about a married stockbroker with a penchant for the esoteric fetish "findom" - financial domination. When his secret dominatrix cleans out all of his bank accounts, he has one day to save his life from ruin. It's a hilarious, heart-wrenching and nuanced interrogation of class, gender and toxic masculinity. I couldn't recommend it highly enough. Check out Dane's other shorts here Follow me on Insta and Letterboxd @alfiefaber Follow Dane's production company 2c Pictures here

Garth Davis is a director from Melbourne whose credits include the 6-time Oscar nominated Lion (2016), Mary Magdalene (2018), episodes of Jane Campion's show Top Of The Lake, and most recently Foe (2023). This episode we chatted about his beginnings in directing commercials, his first documentary feature in 2000 (one of Greig Fraser's first projects as DOP), his long-standing collaboration with previous Sound Perspective guest Robert Mackenzie, and his newest film, Foe: a heady blend of sci-fi and drama starring Paul Mescal and Saoirse Ronan in a dystopian future Earth. Foe is currently in cinemas in Australia, and will soon be streaming on Amazon Prime. Follow me on Instagram and Letterboxd @alfiefaber Follow the Sound Perspective Podcast on Facebook https://www.facebook.com/soundperspectivepodcast

Thomas M. Wright is an Australian director in Melbourne. He started as an actor and has since directed 2 features, the most recent being The Stranger, a Netflix original crime thriller starring Joel Edgerton and Sean Harris which premiered at Cannes 2022. He's incredibly intelligent and articulate. In this interview we chatted about everything from dreams, to his bizarre writing style, and how he likes to develop the tone of his films. Follow me on Instagram and Letterboxd @alfiefaber Follow the Sound Perspective Podcast on Facebook https://www.facebook.com/soundperspectivepodcast

Hlynur Pálmason is an Icelandic filmmaker and artist.films include Godland, A White White Day, and Winter Brothers. He's won awards at Cannes, Toronto, Locarno and more. I saw Godland at Sydney Film Festival last year and had an absurd out of body experience, he's very quickly become one of my favourite directors.

Happy awards season! Todays episode is with Frank Kruse and Lars Ginzel, sound supervisor and re-recording mixer of the new Netflix war film All Quiet on the Western Front, which recently won the BAFTA for Best Sound and is nominated for an Academy Award. Frank and Lars chat about their history in the German film industry, the extensive crowd recording done with hundreds of extras on set, and how they communicate with director Edward Berger. All Quiet on the Western Front is now available on Netflix and is still in consideration for the Academy Award for Best Sound. Follow Sound Perspective on Facebook here Follow me on Letterboxd at @alfiefaber To get in touch with comments about the podcast email me at contact@soundperspectivepodcast.com

Maya Newell is a documentary filmmaker in Sydney whose body of work is a beautiful testament to the power of documentary to engender empathy. Her first feature documentary, Gayby Baby, followed the experiences of children of same-sex parents, and her second, In My Blood It Runs, is a cinematic portrait of a young Indigenous boy in central Australia - it was selected for the Sundance Music and Sound Design Lab. Often working with her participants as credited collaborators, Maya's documentaries are emotionally stunning and politically vital. Her most recent film, The Dreamlife of Georgie Stone, is a half-hour Netflix Original following teenage trans activist Georgie Stone. In this interview, we chatted about her beginnings in video art, the experience of recording an orchestral score for In My Blood It Runs at Skywalker Sound, and how she and Georgie Stone discovered a format and tone that would suit Georgie's story. More about The Dreamlife of Georgie Stone here Follow us on Facebook Follow me on Instagram @alfiefaber and on Letterboxd @alfiefaber

WARNING: In this episode, I repeatedly mispronounce Leo Grande. Sophie was really nice so she never corrected me and I didn't realise till I uploaded. It's not easy being this dumb but somehow I stumble through life. Sophie Hyde is a super talented Australian director from Adelaide whose first fiction feature, 52 Tuesdays, won directing awards at both Berlin and Sundance. Since then she's been making a bunch of phenomenal work in features, doco and TV, most recently the film Good Luck To You, Leo Grande, starring Emma Thompson. We chatted about everything from her background in documentary, shooting 52 Tuesdays over 52 weeks, her collaboration with Irish sound editor Steve Fanagan, rehearsing over Zoom and the challenges of shooting a film in one location. Good Luck To You is currently screening in theatres across Australia (maybe still in the US and UK?) Either way watch it it's so good! Follow me on Letterboxed @alfiefaber Instagram @alfiefaber Contact me on contact@soundperspectivepodcast.com

In this episode I chat to sound supervisor Wayne Pashley and composer/music producer Elliott Wheeler about their work on the new Elvis biopic directed by Baz Luhrmann. I joined Wayne at his studio Big Bang Sound Design, and Elliott Skyped in from the US. We chatted about their history working with Baz Luhrmann, the intense collaboration between sound design and music necessary for a soundtrack this dense, the contextual news recordings that Wayne used as “sonic glue” and the joy of bringing Elvis's music to a contemporary audience. Check Wayne's IMDB at https://www.imdb.com/name/nm0664563/ Elliott Wheeler at https://www.imdb.com/name/nm1395268/?ref_=nv_sr_srsg_0 Got feedback? Email me at contact@soundperspectivepodcast.com Follow Sound Perspective on Facebook at https://www.facebook.com/soundperspectivepodcast/ Follow me on Instagram and Letterboxed at @alfiefaber

Lauren Hadaway is a director based in Los Angeles and Paris whose debut feature, The Novice, premiered this year at Tribecca to great reviews and several awards; it's since been released theatrically and has been nominated for 5 Independent Spirit Awards. However even before this phenomenal film, she was achieving remarkable success in post-production sound, having worked in ADR and sound editing for directors such as Quentin Tarantino, Zach Snyder and Damien Chazelle. In this interview we chatted about how she wrote this feature whilst recording ADR on Zach Snyder's Justice League, what she learned from other directors through working in sound, the challenges of indie filmmaking and the appeal in a niche story such as The Novice. Read more about The Novice here - https://www.imdb.com/title/tt11131464/ Follow me on Instagram at @alfiefaber Or follow the podcast on Facebook at https://www.facebook.com/soundperspectivepodcast

In this episode I had a great interview with supervising sound editor Robert Mackenzie and sound designer Dave Whitehead about their work on Jane Campions psychological thriller Western, Power of the Dog. We chatted about their collaboration with Jane, finding the right sound of spurs, working with Johnny Greenwood's score, how Jane personally directed and oversaw the loop-group, and their thoughts on mixing for Netflix. Catch Power of the Dog now on Netflix! Follow me on Instagram or Letterboxed at @alfiefaber Or Facebook at Sound Perspective Podcast

Ben Lawrence is an Australian director whose credits include Hearts and Bones, Ghosthunter, and most recently Ithaka, a feature documentary following John Shipton, Jullian Assanges father, in his fight for Julian's freedom. It's premiering at Sydney Film Festival this Sunday 7th November, with music by Brian Eno. In my first face-to-face podcast interview in over 18 months, me and Ben chatted about how he pitted Hugo Weaving against first-time actors in Hearts and Bones, how he unwillingly became a character in his documentary Ghosthunter and how he collaborated with Brian Eno to find the right music for Ithaka. Get tickets for Ithaka at Sydney Film Festival here: https://www.sff.org.au/program/browse/ithaka Follow me on Letterboxd: Alfie Faber And Instagram at @alfiefaber Got any feedback or questions? Contact me at contact@soundperspectivepodcast.com

Eddie Martin is an Australian documentary director who shot to cult fame with his visceral 2005 documentary, Jisoe, about a Melbourne graffiti artist; some of his films since have included All This Mayhem, Have You Seen The Listers? and The Kids. The Kids revisits the cast of Larry Clarks cult 1995 film Kids, and is playing at Sydney Film Festival this year. In this Zoom chat me and Eddie discussed his background in the Melbourne skate scene and how he wanted to explore the alternative narrative behind Kids. Get tickets for The Kids at Sydney Film Festival here: https://www.sff.org.au/program/browse/the-kids Watch Jisoe here https://www.youtube.com/watch?v=gp8ZNqaG-dE&t=2490s&ab_channel=EddieMartin Follow me on Letterboxd: Alfie Faber And Instagram at @alfiefaber Got any feedback or questions? Contact me at contact@soundperspectivepodcast.com

David France is a documentary filmmaker, writer and journalist in New York, whose directing credits include Oscar-Nominated How To Survive a Plague, The Death and Life of Marsha P Johnson, and last year's Welcome to Chechnya, the horrific story of the genocide of queer people in the Russian state of Chechnya. In this Skype interview we discussed his transition from journalism to film, how he ensured the anonymity of his subjects through ground-breaking VFX and ADR, and his working relationship with legendary mixer Lora Hirschberg, who has also worked on films such as The Dark Knight and Inception. Find out where you can watch Welcome To Chechnya here https://www.welcometochechnya.com/seefilm Follow the podcast socials on Facebook - https://www.facebook.com/soundperspectivepodcast Instagram - @alfiefaber Email at contact@soundperspectivepodcast.com

Kate Simko is a composer in London who's worked across a wide variety of docos and fiction films as well as having had a long career as an EDM DJ. Her most recent work is on the documentary Underplayed, which explores the issue of the lack of female-identifying DJs and the history of women in electronic music. We chatted about the influence of her upbringing in the Chicago music scene, her career as a DJ, finding a sound palette that sat between the music styles of Underplayed's participants, and why there are so few women composers. Check her music at https://open.spotify.com/artist/2KXLSIzI7CY7AJg5ARUOSb?si=68tiq752Qb27zqtpJmt_XA Follow the podcast socials on Facebook - https://www.facebook.com/soundperspectivepodcast Instagram - @alfiefaber Email at contact@soundperspectivepodcast.com

Aunty Donna are a 6-piece comedy group from Melbourne, Australia, who have worked across video, stage performance, and music. They are very, very, very funny people.In this episode I chatted to two of the members; filmmaker Max Miller and composer/sound designer Tom Armstrong, about their new Netflix original series, Aunty Donna's Big Ol' House of Fun. We talked about how Tom likes to get involved from the sketch writing phase, how Max converts live sketches to something cinematic, their work outside of Aunty Donna, and the alternate universe in which they might have made a Quibi series.Watch Aunty Donna's Big Ol' House of Fun now on Netflix, or follow their socials:Instagram: @theauntydonnagalleryTwitter: @auntydonnaboysFacebook and Youtube: Aunty DonnaFollow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefaberGot feedback? Email me contact@soundperspectivepodcast.com

Glendyn Ivin is an Australian director of features such as Last Ride and Penguin Bloom, which just premiered at TIFF, as well as amazing TV shows such as The Cry, The Beautiful Lie, and Puberty Blues.I managed to have a Skype interview with him while he was stuck in a two week quarantine in a hotel in Sydney, and we had a really amazing chat about a massive range of topics; his background in documentary, passion for music, love of shooting with small crews and editing of bird sounds in Penguin Bloom.Watch his Palme D'or winning short here https://vimeo.com/8833777Follow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefabersoundGot feedback? Email me contact@soundperspectivepodcast.com

In this episode I chat with Natalie Erika James and Robert Mackenzie, the director and sound designer of the hit Australian horror film Relic. In this Skype interview, we talked about the collaborative process of having a sound team working in 3 different cities, creating an extensive sample library before the edit, and how they created a sense of organic decay through the soundtrack.Relic is currently available in Australia on Stan and overseas on rental platforms.Follow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefabersoundGot feedback? Email me contact@soundperspectivepodcast.com

In this episode I chat with Natalie Erika James and Robert Mackenzie, the director and sound designer of the hit Australian horror film Relic. In this Skype interview, we talked about the collaborative process of having a sound team working in 3 different cities, creating an extensive sample library before the edit, and how they created a sense of organic decay through the soundtrack.Relic is currently available in Australia on Stan and overseas on rental platforms.Follow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefabersoundGot feedback? Email me contact@soundperspectivepodcast.com

Ron Bartlett is a re-recording mixer working at the Formosa Group in LA, with over 170 credits to his name, including Bladerunner 2049, Reservoir Dogs, The Assassination of Jesse James by the Coward Robert Ford, Us, and the upcoming Dune film by Denis Villeneuve.In this Skype interview we chatted about his intro to sound through drumming, the experience of working on both Bladerunner films, and his memories of Quentin Tarantino as a young up-and-comer in the indie LA scene.Follow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefabersoundGot feedback? Email me contact@soundperspectivepodcast.com

Jed Kurzel is an Australian composer living in England. He is the brother of Australian director Justin Kurzel, and in addition to having scored all of his films (Snowtown, Assassins Creed and The True History of the Kelly Gang) he's composed for films such as Alien: Covenant, The Babadook and The Nightingale.In this Skype interview me and Jed talked about his upbringing with Justin, the difference between film composition and song-writing and what composers can do to add to a film.Follow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefabersoundGot feedback? Email me contact@soundperspectivepodcast.com

Karen Baker Landers is a two-time Oscar-winning sound editor in LA, working for the Formosa Group. Her credits include The Bourne franchise, Skyfall, Spectre and Black Hawk Down.In this Skype interview we talked about her fascination with sound in storytelling since a young age, working with an audiences expectations of "movie" sound, and keeping the sound authentic in her most recent Netflix film Sergio.Follow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefabersoundGot feedback? Email me contact@soundperspectivepodcast.com

Justin Kurzel is an Australian director working in London; his films include Snowtown, The True History of the Kelly Gang, Macbeth and Assassins Creed. In this Skype interview we talked about his origins in theatre design, his collaboration with his brother and regular composer Jed Kurzel, creating a social-realistic sound in Snowtown and the influence of his favourite book.Follow me on Facebook at Sound PerspectiveTwitter @soundperspectInstagram @alfiefabersoundGot feedback? Email me contact@soundperspectivepodcast.com

For my first interview with a picture editor I was lucky enough to talk to the Oscar-nominee Douglas Crise! Douglas's credits have included Birdman, Babel, Spring Breakers and The Beach Bum. After seeing The Beach Bum I was absolutely compelled to chat to the person behind the edit.In this Facetime call we talked about how Doug likes to work with temp sound, the development of the iconic soundtrack of Spring Breakers, Harmonie Korines' 6 hour workdays(!) and the tricks of cheating a one-shot in Birdman.Feedback? Email me at contact@soundperspectivepodcast.comFacebook https://www.facebook.com/soundperspectivepodcast/Twitter @soundperspectInstagram @alfiefabersound

For this episode I did a cheeky little pod swap with the amazing sound design podcast Tonebenders. The Tonebenders hosts are incredibly talented with heaps of industry experience and they've been making awesome content for years so it was an absolute pleasure to hear from them and collaborate on this.In this ep you'll hear their interview with Brad Engleking, the sound designer of Terence Mallicks' most recent film A Hidden Life. As the only sound designer on a 3 hour film Brad really had his work cut out for him but he did a phenomenal job and this interview is a really interesting insight into his process by some people a lot more talented and experienced than me!Tonebenders will be releasing my Peter Weir interview in the next few weeks but please go check out their podcast, it's available on iTunes, Spotify and wherever you get your podcasts.Website https://tonebenderspodcast.com/Find them on Twitter @thetonebenders or Facebook @Tonebenders

Happy International Womens Day! As a late celebration here's a new episode with one of my favourite female directors, Mirrah Foulkes. Her first feature, Judy and Punch, is a violent, feminist retelling of the traditional Punch and Judy story. It premiered at Sundance in 2019, and she came on the podcast to chat about her journey from acting to directing, the process of finding the right music for her movie and the experience of making your first feature.Judy and Punch will be coming to American cinemas from April 24th!Got any feedback? Email me at contact@soundperspectivepodcast.comOr follow me on Instagram @alfiefabersound

Listen to the entire interview with Wayne Pashley, Derryn Pasquill and Andrew Miller from Big Bang Sound Design from episode 1 talk about their work on Mad Max, working with George Miller, their time on the Great Gatsby as well as a deep dive by Andrew Miller into sound effects editing for gunshots and action sequences.

David White was the Oscar-winning sound designer on Episode 1 of the podcast, one of the several people I talked to about the soundtrack of Mad Max: Fury Road. In this complete interview with him he discusses his acting background, what it was like working with George Miller, what the Australian film industry could do better, and how story should take precedence over everything else.Follow the podcast on Instagram at @soundperspectivepodcast

I went down to Big Bang Studios in Rosebery to chat with director Mike Green, sound designer Peter Climpson and mixer Wayne Pashley, who I'd previously talked to in my episode about Mad Max. We chatted about Mike's debut feature, Outback, a psychological thriller set in the Australian desert, how Mike and Peter developed a style in the films soundtrack, and what Wayne was able to bring as a seasoned sound mixer.Outback premieres at Monsterfest in Melbourne on Saturday 12th October. Tickets at http://www.monsterfest.com.au/australia/program/?layout=gridFollow the film at https://www.facebook.com/Outbackthemovie/Got any feedback? Email me at contact@soundperspectivepodcast.comOr follow the instagram at https://www.instagram.com/soundperspectivepodcast/

In this episode I talk with a big name in Australian sound design, Annie Breslin. Annie has worked for decades in Australian post-production sound as well as film preservation and archiving, with directors such as Gillian Armstrong, Samantha Lang and Rachel Perkins, as well as in theatre and installation. She talked about the "old days" of Australian film, how she develops characters through a soundtrack and maintaining a work-life balance in this industry.Instagram is https://www.instagram.com/soundperspectivepodcast/Contact me at contact@soundperspectivepodcast.com

Peter Strickland is the British auteur director of underground cult hits such as The Duke of Burgundy, Berberian Sound Studio and In Fabric, which this year premiered at Toronto International Film Festival. I got the pleasure of interviewing him while he was in Sydney for a Q&A at AFTRS. In this interview he talked about the struggles of post-production on a budget, his process of collaborating with composers, and how he uses music to communicate ideas to his actors. Got feedback? Send me an email at contact@soundperspectivepodcast.com or leave a review on iTunes Follow the Instagram and Facebook at Sound Perspective Podcast

Yulia Akerholt is an Australian soundie who has worn all the hats in post-production sound over her career, specialising mostly in dialogue editing. She's worked on countless great Australian films such as Tracks, Samson and Delilah, and Little Fish. We had a great chat about the often under-appreciated art of dialogue editing, designing the desert landscape of Tracks, working with Warwick Thornton and what it takes to break into the Australian industry these days. Find her on IMDB here https://www.imdb.com/name/nm0009945/ Follow the Sound Perspective Instagram at https://www.instagram.com/soundperspectivepodcast/

For my coverage of Sydney Film Festival I interviewed Rob Braslin, one of five directors of Dark Place, an anthology of five short horror films by Indigenous directors; also joining us was actress Sara Pensalfini, who starred in Rob's short Vale Light. We talked about what it was like to work with a sound designer for the first time, the influence of his Indigenous background on his filmmaking and the unconventional process of being one of many directors in a single project. Dark Place is screening this Saturday and Sunday 15th and 16th of June for SFF. Get tickets here https://www.sff.org.au/program/browse/dark-place Follow Sound Perspective social media at https://www.facebook.com/soundperspectivepodcast/ https://www.instagram.com/soundperspectivepodcast/

I had the pleasure of interviewing Samuel Van Grinsven and Stuart Melvey, director and re-recording mixer of the indie feature film Sequin in a Blue Room, which is premiering at Sydney Film Festival this month. They talked about making a thriller about contemporary queer culture, the struggles of indie filmmaking and creating a sense of claustrophobia in the soundtrack. Follow Sequin in a Blue Room's social media for updates on upcoming festivals here: https://www.facebook.com/sequininablueroom/ https://www.instagram.com/sequininablueroom/?hl=en Visit the Sound Perspective website: https://www.soundperspectivepodcast.com/

I was fortunate enough to sit down with the 6-time Academy Award nominated Australian filmmaker Peter Weir, director, writer and producer of films such as Picnic at Hanging Rock, Dead Poets Society and Master and Commander. Peter is an incredibly interesting person, and talked about everything from the influence of Jung's writings during the making of Picnic at Hanging Rock, his take on Television, and the various collaborations he's had with soundies over the years. Talking with him was an absolute pleasure, and I hope you enjoy it! Side-note, apologies for the occasional crackles, the recorder started mucking up mid-interview and I didn't want to interrupt his flow! Follow Sound Perspective instagram here https://www.instagram.com/soundperspectivepodcast/ Or the Facebook here https://www.facebook.com/soundperspectivepodcast/

Whilst on holiday in England, I hopped on the train to Twickenham Studios, just outside London, to have a chat with James Mather, who was sound supervisor of the last four Harry Potter films as well as having worked on Mission Impossible: Rogue Nation, Clash of the Titans and countless others. James has been working in the British industry for decades now, and he was kind enough to invite me to his studio for an interview on the eve of 2019. James talked about some really interesting stuff including how they approached the changing tone of the Harry Potter franchise in the soundtrack, his methodology when working on action sequences and how picture editors and the sound department can learn from each other.

I interviewed Oscar-Winning director, writer and producer George Miller, amongst many other talented people, for Episode 1 of the podcast, "Fury Road: From Storyboard to Soundtrack." With so much great content I was unable to fit into an hour, I'm releasing them all individually. Here you can listen to George talk not only about Fury Road but also the history of sound in film, his childhood, how the composers he's worked with have influenced him and what people could learn from the Kiwi film industry. Follow the podcasts' Facebook on https://www.facebook.com/soundperspectivepodcast/ And Twitter at https://twitter.com/soundperspect Stills photography by Julian Pertout; check out his work at https://www.instagram.com/julianpertout/

Ben Osmo is an Oscar-winning Australian sound recordist whose extensive list of credits include Strictly Ballroom, Alien: Covenant and many of George Miller's films. We talked about his working relationship with George Miller, how he uses his role to help facilitate the film-making process, the technical challenges he encountered on Mad Max and Babe, and the state of the Australian industry. Find his music at https://soundcloud.com/benosmo Follow the Sound Perspective Facebook at https://www.facebook.com/soundperspectivepodcast/ And Twitter at https://twitter.com/soundperspect

In this episode I chatted to musicians and sound designers CORIN, Becky Sui Zhen and Casey Hartnett about the music they composed for the Masters of Modern Art exhibition at the Art Gallery of NSW. I chatted with them about their collaboration, what it's like creating music for interactive audio-visual guides and how their music-making process is different when it's supporting visual media; included are a few tracks of their solo material as well. The Masters of Modern Art exhibition is on at the Art Gallery of NSW until the 3rd of March  To check out their music and other work, go to their websites:  https://soundcloud.com/corinmusic http://caseyhartnettsound.com/ http://www.suizhen.com.au/welcome/ Follow the Sound Perspective social media at: https://www.facebook.com/soundperspectivepodcast/ https://www.instagram.com/soundperspectivepodcast/ www.soundperspectivepodcast.com  

Andy Wright is a sound supervisor, ADR recordist, and all round interesting person who works at Soundfirm in Sydney, and in recent years won an Oscar for his work as sound supervisor on Hacksaw Ridge. In this interview we talk about how he approaches working with actors in ADR, mixing a war scene, Mel Gibson's as a director and the Chinese film industry.

I had the pleasure of interviewing Dean Hurley, David Lynch's regular sound supervisor for over a decade, while he was here in Sydney working on the upcoming Sydney Festival event Masters of Modern Sound, where him and other sound practitioners are composing and performing works in response to the Art Gallery of NSW's current exhibition, Masters of Modern Art from the Hermitage. Walking through the gallery space we discussed how an artwork creates a musical response, working with the director Werner Herzog, and the collaborative process between himself and David Lynch. Masters of Modern Sound is on at the Art Gallery of NSW from January 10th-12th; more info can be found at the AGNSW website or https://www.sydneyfestival.org.au/events/masters-of-modern-sound

In this special episode I talked to the Oscar-winning director of the Mad Max franchise, George Miller, as well as many of the people behind the soundtrack of this visceral action film, including David White, Wayne Pashley, Derryn Pasquill, Mark Wasiutak and Andrew Miller. In this comprehensive look at a franchise, I discuss with them how George approaches sound in his his films, the extensive pre-production process of Fury Road, the difficulties of the production sound, creating sonic personalities for cars and how they translated George's vision into a concrete soundtrack. This debut is not to be missed!