Sounds In Cinema

The very first listener and supporter of the show(excluding friends and family) graciously agrees to be guest. Known to her social media 30,000+ followers, she's known as Metalkitty.... to me she's my battle born bud whom I'll stand and fight with and for any day. After enduring several years of drug addiction, abuse of every kind...not to mention is medically documented to have died(coded 9 times with more than 9 minutes without a pulse or oxygen to the brain) rose from the ashes and dedicates her survival to spreading a message of hope no matter how dark the night is

So much to say in such a little amount of time. The winds of change are blowing and its time. Farewell to the late, great Gilbert Godfried while transitioning into how much I loved the Book Of Boba Fett series. Rounding out the show with being light hearted and how much incredible fun Free Guy is as a great movie. Stay tuned until the end of the episode for a special message 

Relax and unclench everything. Ill walk you through the power of suggestion in meditation and mass media

Tonight I walk alone. No more witty and intelligent descriptors, just me being me and paying homage to the late great Orson Wells

D-Rock says good-bye. In the key of Star Wars.

D-Rock takes over the ship while Tony is out of town and brings all of his friends to the studio to discuss sound design in HBO's The Pacific. That'll be enough talking for him this week.

Tony found an article, D-Rock found a clip, so we talked about what the guy who pushes the buttons wants.

A Category 5 hurricane of tangents if there ever was one.

I really hope all of our shows aren't going to have pause breaks for Tony to switch to Tik-Tok from now on. Go get you a mixtape.

David Gnozzi and Bella Kelly join us to talk about music production, mixing, and mastering and how to maneuver the life of making music, and they admirably do so without stepping on one of our stupid landmines.

Dustin Ross calls in to lend his expertise about a pair of scenes with and without music as a clever guise to promote his own film. Jerk.

I wasn't going to upload this, but Tony (fake name) put a weapon to my head.

We recorded ourselves reading a short scene from The Exorcist to A) demonstrate what altering sound design around dialogue can do to change the meaning of the scene and B) prove to ourselves that we actually should be hosting this podcast in the first place. Because that's something you do 62 episodes in.

Ryan Scarbrough joins to talk about what it would sound like if we gave him the beating he deserves.

A reckoning with some of the creative laziness within the current landscape and a plea for improvement. Featuring: the f-word.

Brian Denny joins the show (again...*sigh*) to chat with us about making the best of bad situations that will inevitably rear their ugly faces in the middle of productions.

We take the light-hearted approach by sucking all the fun out of a completely unserious list of overused sound effects.

We catapult into the sounds surrounding dialogue and their meaning, largely because we've grown to know Dustin Ross. We utilize scenes in Jurassic Park to make this point, largely because Dustin Ross has surely seen it before. The only thing missing from this episode? Yeah, Dustin Ross.

We start off 2022 with an analysis of Jurassic Park. Tamara Solomson joins, D-Rock fondly remembers one of his favorite movies from his childhood, and Tony says things, featuring The Ghost in the Machine.

We talk about some of the movies that were, the experiences that made us learn, and the ten most listened-to Sounds in Cinema episodes in 2021. Because D-Rock hates countdown listicles so much that he came up with his own.

Mike and Tom from The Everything Sequel Podcast stop by to chat with us about some Christmas favorites and the quintessential holiday hero: James Bond.

We conjure up an honest self-assessment of what we did and mostly didn't do right with our live show earlier this week to inform you, our dear listeners, that it really wasn't that great beyond the musical performances of Ryan Scarbrough, Nick Lucassian, and Kaylor Otwell.

After watching The Autopsy of Jane Doe, we were going to argue about it before Tony changed his mind mid-sentence.

Nashville-based singer-songwriter Katrina Burgoyne calls in to chat with us about inspiration, moving to pursue passions, performance and songwriting in Nashville, and guessing D-Rock's Zodiac sign.

A discussion about what we would like to do with the future of the show, as filtered through the trademark focus of Tony Parham.

We talk about sound design in animation, collaborative discipline, and British accents after an intro from noted thespian Tony Parham.

We celebrate our 50th show by inviting two-thirds of the people we've ever met to be our guests.

In preparation for Episode 50, complete with an audio trailer, we revisit tone and intent through the lens of our very best general disorganization.

Dustin Ross calls us on a whim to chat about all things Dune, serial killer sitcoms, and the process of "visualizing" sound as a part of the screenwriting process. I still wish we would have been able to leave him a voicemail on air, though.

We interview producers and screenwriters William Campbell and Laurie Beauchemin about their upcoming paranormal-inspired film project, then we speed our way through a ridiculous list of the "best 200 horror movies" as brought to you by a Rotten Tomatoes algorithm so stupid you'd think D-Rock would ask it out.

Tony watches a movie over D-Rock's shoulder and pretends it's a conversation for everyone. I really don't like him anymore.

D-Rock talks about his experience at a No Time To Die premiere event before we bounce around an array of entirely unrelated topics.

A chat about the difference between noise and sound and why it all matters in entertainment. This show was almost so mature that I'm a bit ashamed of us.

We take on sound and music therapy, how they relate to the way we experience entertainment, and a plethora of throat-clearing.

We had an unfortunate no-fault postponement, leading us to do what we do best: ramble about sound and occasionally mock each other with impunity. Guests stars include beer and phlegm.In loving memory of LTC Robert E. Hanson.

We had to forego our original plan because of unforeseen circumstances, so we instead launched into an array of personal stories, rambling tangents, and the occasional quip that might or might not have related to sound in entertainment.

We decided to talk Tony through his first existential crisis in at least four hours. D-Rock was not helpful.

A rather cordial interview with Dustin Ross from Movie Geeks and TV Freaks. Or is it Movie Freaks and TV Geeks? Ah, who cares? Just listen and support his work.

Our fearless leader ran short of ideas for once, so we talked about whatever for an hour. And a movie or two.

In a twisted turn of seriousness, we take an analytical look at sound in the chase scenes of Casino Royale and Se7en to compare and contrast what makes them so effective. Since Tony wasn't feeling so great, we didn't joke around as much as we usually do, but...he's going to kill me, isn't he?

Tony comes back to ruin all the fun, but we interview Nick Payne about his professional exploits - from dance, to acting, to business - in order to redeem ourselves.

Tony undertakes a secret mission to Massachusetts, forcing D-Rock to take the helm against his will and interrogate Nick Lucassian about whatever the hell he feels like at any given time. Because that's just what he's like.

At least Everything Sequel got to talk about The Dark Knight this week.

We take a semi-deep dive into the careers of sound designers Jack Foley and Ben Burtt (and how they changed cinema forever), as well as the musical stylings of Tony Parham (who did not).

A total free-for-all where D-Rock has to bob and weave around whatever the Hell Tony feels like talking about. Like us on Instagram, I guess.

We discuss the evolution of music supervision in movie soundtracks, which eventually leads to talking about Boogie Nights. Because neither Tony nor Derek has ever seen porn before.

Tony recommends a movie, D-Rock doesn't watch it, and this is what happens.

We talk about sound design and score in Jaws on the anniversary of the O.G. summer blockbuster's release.

D-Rock returns from assignment, and we dig into the production complexities of William Friedkin's and William Peter Blatty's legendary The Exorcist.

D-Rock undertakes a secret out-of-town mission, forcing Tony to assuage his sadness by talking to someone far more interesting than everyone's favorite ginger jerk. Tamara Solomson guests from her bunker in an undisclosed location.

With The Conjuring: The Devil Made Me Do It arriving in theaters this coming week, we wrap up our look at the first two with an analysis of all things sound in two of our favorite scenes in The Conjuring 2.