Podcast appearances and mentions of julian slater

On this week's episode, we welcome Julian Slater, re-recording mixer and/or supervising sound editor on Last Night in Soho, The Tender Bar and Being the Ricardos. Past credits include: The Trial of the Chicago 7, The Girl in the Spider's Web, Bad Times at the El Royale, Jumanji, Baby Driver, The Danish Girl, Mad Max: Fury Road, Scott Pilgrim vs. the World.

For our 100th episode, we are very pleased to welcome back to the podcast acclaimed director Edgar Wright, along with his frequent collaborators, composer Steven Price and sound designer Julian Slater. We discussed their latest mind-bender of a film, the psychological thriller – featuring (https://www.hollywoodreporter.com/movies/movie-news/edgar-wright-last-night-in-soho-movie-1235037082/ (as Stephen King put it)) "time travel with a twist" — "Last Night in Soho." As always, this team has crafted an incredibly rich soundtrack, this time seamlessly melding sound design, score, and classic hit songs from the 1960s. They accomplished this by beginning work on the film well before filming even began. "The great thing about working with Steve and Julian, and also my editor Paul Machliss, is that we've worked together so much, that it's great to be able to think about those [soundtrack] elements when you're writing, and also to be able to talk to everybody about it before we've shot a frame of the movie. That's an unusual thing to do with a composer, and an even more unusual thing, probably, to do with Julian — to talk to a sound designer about a film where you haven't shot a frame of it yet. But, as with 'Baby Driver' and with this, it's something where I include everybody very early on." — Edgar Wright, Director and Co-Writer, "Last Night in Soho" "It's kind of how it goes with Edgar. As I leave one movie he's talking about three or four possibilities for his next ones. And sound is always entwined in there. And conversations start, even at that point, even as we're finishing the current movie. He's already thinking about the next one. When there's a collaboration that runs as deep as ours does, including Paul [Machliss] as well, it just makes for a great breeding ground of ideas." — Julian Slater, Supervising Sound Editor and Re-Recording Mixer, "Last Night in Soho" https://www.focusfeatures.com/last-night-in-soho/watch/ (The film is now playing in Dolby Cinemas and it is spectacular to experience in Dolby Vision® and Dolby Atmos®, so be sure to get your tickets soon.) Please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). 

The cult classic "Scott Pilgrim vs. the World" came out just a little over ten years ago, and to celebrate the anniversary, the filmmakers (and Universal Pictures) decided to remaster the film in Dolby Vision and Dolby Atmos for a theatrical and home video re-release this year. Dolby had the privilege of sitting down with the director, Edgar Wright, and the Sound Designer, Julian Slater, to talk about the experience and to find out just how different this new and improved version of the film will be. "Sometimes going back in - remastering something - can be a bit of a chore.... But in this case, it was actually a very sweet reunion... I sat in this theater watching the Dolby Cinema version with the editor of the movie and the sound mixer of the movie, ten years later, and watching it I had like NO notes! It was such a pleasure because it was such an easy experience, because it was like 'well, it sounds and looks better than it ever has done. And what better way to celebrate ten years of this movie?'" — Edgar Wright, Director of "Scott Pilgrim vs. the World" Be sure to check out the 10-year special re-release of "Scott Pilgrim vs. the World" at a Dolby Cinema or home theater near you. You can find more information on the re-release https://www.facebook.com/ScottPilgrim/ (here). Please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). 

We do a deep dive into the ground breaking Sound Design of Scott Pilgrim Vs The World, to celebrate it's 10th Anniversary. Supervising Sound Editor Julian Slater tells us about his favourite moments and how they came to be.

We do a deep dive into the ground breaking Sound Design of Scott Pilgrim Vs The World, to celebrate it's 10th Anniversary. Supervising Sound Editor Julian Slater tells us about his favourite moments and how they came to be.

What a treat it was to sit down with Academy-award nominated Sound Designer/Mixer JULIAN SLATER, who created the soundscape for all of director Edgar Wright’s movies and whose latest film ‘Bad Times at the El Royale’ opens this weekend! In our conversation, Julian lays out the elements of what makes for great Sound Design, what was it like working on George Miller’s ‘Mad Max: Fury Road’, his career-long collaboration and creative partnership with Edgar Wright, and specifically creating together their Oscar-nominated work on 2017’s hit ‘Baby Driver.’ Make sure to find and follow the podcast on Facebook at: https://www.facebook.com/soundstageaccess/

This week we look at audio, hardware and production planning. We start by talking with three Academy-nominated audio mixers, chat about new audio network standards being developed by AES, learn about custom-built, high-performance computer hardware and discover better ways to plan a production. Plus, the weekly DoddleNEWS Update! Join host Larry Jordan as he talks with Julian Slater, Christian Cooke, Brad Zoern, Jeff Berryman, Christopher Johnson, Robert Kiraz and James DeRuvo. Secrets of a Superstar Mixer Audio Mixing "The Shape of Water" Creating Audio Network Standards Custom, High-Performance Media Hardware StudioBinder Improves Production Planning The Weekly DoddleNEWS Update The post Digital Production Buzz – March 15, 2018 appeared first on Digital Production Buzz.

Edgar Wright's Baby Driver kept us on the edge of our seats with its tale of a high stakes getaway driver named Baby (Ansel Elgort), and his struggle to get out of the business he's been locked into. The story may have gotten our heart pumping, but the added element of sound that courses throughout the film is what truly makes the Academy Award nominated film so spectacular. In this special episode of Hype Podcast, our co-host Pamela Gocobachi sits down with 2018 Oscar nominee Julian Slater ahead of Sunday night's awards to discuss how he went about creating the journey of sound that's featured in Edgar Wright's unique film.  Julian Slater, who served as the film's sound designer/supervising sound editor/re-recording mixer, scooped up two of Baby Driver's three nominations this year, including a solo nod for Best Achievement in Sound Editing, and one for Best Achievement in Sound Mixing alongside Tim Cavagin and Mary H. Ellis.

Todd loves the Oscars, so this week's episode features not just one but two Oscar nominees from this year's crop. First, Todd talks with Vox film critic Alissa Wilkinson about the year's biggest prizes.   Then he's joined by Julian Slater, the Oscar-nominated sound designer and sound editor of the action-musical Baby Driver. Julian tells Todd all about crafting the sonic world of one of 2017's most ambitious aural experiments, then he explains the difference between the Sound Mixing and Sound Editing Oscars' categories.   The episode concludes with a discussion with I, Tonya editor Tatiana Riegel who joins from Berlin to explain why editors are so important to the filmmaking process. She also talks about balancing the many complicated tones of one of the year's most tonally adventurous movies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a career spanning 25 years, Julian has created and designed sound for movies for top directors such as Edgar Wright, Tim Burton, Joel Edgerton, and George Miller.  Julian's film credits include Hillary and Jackie, Shaun of the Dead, In Bruges, Scott Pilgrim vs the World, Attack the Block, and The Gift. More recent projects Julian has worked on include Mad Max: Fury Road, for which he won a Motion Picture Sound Editors Golden Reel award. One of his most recent projects is the acclaimed action film Baby Driver, for which he was nominated for Oscars in Sound Editing and Sound Mixing.  Julian's upcoming work includes the film The Public, directed by Emilio Estevez.

In this episode, production sound mixer Mary Ellis talks about her very first day of the shoot—recording the sound on set during the continuous 5-minute shot set to “Harlem Shuffle,” and the challenges of mic’ing all those fast-moving cars. Sound supervisor/mixer Julian Slater talks about using tinitis to take the audience into the head of main character Baby. He and dialog mixer Tim Cavagin also discuss the unique challenges of mixing all the crafted sound design and dialog to blend with a driving music track. Oscar nominees: Tim Cavagin, Mary H. Ellis, Julian Slater “We want the audience to understand within the first 60 seconds that sound is important to this film; it’s something to register.” Julian Slater

With Francine Stock. Playwright and writer/director Martin McDonagh talks about his award-winning drama Three Billboards Outside Ebbing, Missouri, and why he never knows which direction his plot is taking when he's writing and is as surprised by the twists and turns as the audience. The heist thriller Baby Driver is choreographed to the songs that its hero is listening to on his headphones, from the coffee machine that's in sync with Harlem Shuffle to the shoot-out that plays out to the strains of Hocus Pocus by Dutch prog rock band Focus. Sound designer Julian Slater tell us how he did it. As two Churchill bio-pics are released within six months of each other, The Film Programme challenges historians and history buffs to offer better historical candidates for the movie treatment. Comedy writer Jack Bernhardt kicks off the Pitch Battle series with Headless, the tale of Lord Thomas Fairfax, a brilliant general and terrible politician, and his part in Charles I's downfall.

We return for the final show of 2017 before we head off for Christmas, but we have an episode stuffed like a turkey, full of tv news, air date info, and an exclusive interview with Julian Slater, the incredible sound designer behind Edgar Wright's brilliant 'Baby Driver'.Julian is a man of many titles - re-recording mixer, sound designer, supervising sound editor… basically, everything, other than the composed music in a film, is Julian’s responsibility. The British born, now LA-based, “sound guy” has worked on some brilliant projects over his career, from films such as ‘Shaun of the Dead’, ‘In Bruges’, ‘Hot Fuzz’, ‘The Danish Girl’, ‘Mad Max: Fury Road’, and ‘Scott Pilgrim vs. the World’, to tv shows like ‘Life on Mars’, ‘Ashes To Ashes’ and ‘Hotel Babylon’.All that experience came in handy when his long-time collaborator, Edgar Wright, presented him with the movie ‘Baby Driver’ - a film about a young getaway driver, who gets involved in a heist that goes wrong. The unique part of the movie is contained in its use of sound. The lead character suffers from tinnitus, so listens to music to drown it out. This leads them to the idea of syncing a large portion of the sounds you hear in the film to the music. The phenomenally complex task of how to make that work fell to Julian, who had to figure out a way of making all the everyday sounds from the film sync up with the movie's extensive soundtrack.Julian's latest upcoming film is ‘Jumanji: Welcome to the Jungle’, so we also discuss what it's like creating the terrifying roars of oversized stampeding animals!Also On This Week's Show:Ross takes the co-host chair for one final time this year to chat about the tv shows and films we've been watching including 'The Punisher', 'The Orville' and a little sci-fi film called 'Star Wars: The Last Jedi'...We take a look at all the latest tv & film news, including Disney's bid to take over Fox, Ronald D. Moore's new space drama for Apple, and Netflix's ‘She-Ra’ reboot!We give you our recommendations for upcoming TV in the next 7 days. See acast.com/privacy for privacy and opt-out information.

Writer/director Edgar Wright joins sound designer Julian Slater in conversation about their remarkable five film collaboration, starting with Shawn of the Dead and continuing through their most recent film, Baby Driver. In this episode you’ll learn why Wright records sound on location scouts, dissect the sonic components of the infamous “Tequila” shoot-out scene from Baby Driver, and hear why Julian Slater feels Dolby Atmos was designed for the film. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Talented creative duo Wright and Slater chat about their remarkable five-film collaboration, from Shawn of the Dead to Baby Driver. https://linktr.ee/dolbyinstitute (Subscribe) to the Dolby Institute Podcast. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). Movie buff? Follow Dolby Cinema on https://www.instagram.com/dolbycinema/?hl=en (Instagram).

Crew Call is back for Season 2. Deadline Hollywood's Anthony D'Alessandro is joined by director Edgar Wright and sound designer Julian Slater for a discussion about the sound design in their film Baby Driver. Produced by David Janove.

Earlier this week we brought you an interview with the Sound Editor/Mixer of "Baby Driver, " Julian Slater. This week we have another interview, this time with the Oscar nominated Sound Mixing team on "The Shape Of Water," Chris Cooke and Glen Gauthier. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - @nextbestpicturepodcast iTunes Podcasts - itunes.apple.com/us/podcast/negs-…d1087678387?mt=2

As we continue our Oscar coverage here at Next Best Picture, we have another interview with an individual who's name you may not have heard before, but you've certainly heard his work in the film "Baby Driver." Julian Slater is nominated for the BAFTA for Best Sound and is a two-time nominee at the Oscars this year for both Sound Editing and Sound Mixing for his work on Edgar Wright's film. I had the pleasure to talk with Julian about his work on the film, his thoughts on the awards season and more! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - @nextbestpicturepodcast iTunes Podcasts - itunes.apple.com/us/podcast/negs-…d1087678387?mt=2

This week we had the pleasure to speak with the executive and creative team behind the recently formed post-production sound company Formosa Group. Joining me in this roundtable discussion include President and COO, Bob Rosenthal, SVP Business Development & Operations Matt Dubin and a fantastic mixture of re-recording mixers, sound designers, and editors including Mark Mangini, Julian Slater, Greg Hedgepath, and Todd Toon.