Podcast appearances and mentions of Skip Lievsay

Academy Award winning sound supervisor and re-recording mixer Skip Lievsay returns to the podcast, along with Academy Award winning director Davis Guggenheim, to discuss their incredible new documentary, Still: A Michael J Fox Movie.“I think in a much more traditional documentary, you can polish too much. The sound. You can make it too perfect. And that's sort of what we talk about [with] the off-camera voice. You want to make sure the audience feels like you haven't screwed with the original material.”—Davis Guggenheim, Director and Producer, “Still: A Michael J Fox Movie”Still: A Michael J Fox Movie is now streaming on Apple TV+ in Dolby Vision® and Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Oscar-winning re-recording mixer & supervising sound editor Skip Lievsay takes you behind the sound on the Cohen Brothers' beloved film Barton Fink. He talks about his 38-year collaboration with the Cohen Brothers, what it was like to work on a film pre-Pro Tools, the stories behind the Barton Fink mosquito, the signature door whoosh, that never-ending hotel desk bell, and so much more! Interview by Jennifer Walden, and hosted by Asbjoern Andersen from asoundeffect.com

The 2022 Sundance Grand Jury Prize winner was the first ever horror film to win the top award at the film festival. But before that, "Nanny" — the feature film debut from Nikyatu Jusu — was also the recipient of the 2022 Dolby Institute Fellowship, which awards a low-budget Sundance film with a post-production grant to finish the film in Dolby Vision® and Dolby Atmos®.Now that "Nanny" is available to stream on Prime Video, we recently sat down with writer-director Nikyatu Jusu, supervising sound editor Dave Flynch, and Academy Award winning re-recording mixer Skip Lievsay to discuss the film's rich soundtrack. This episode was recorded during a live post-screening Q&A for the Artist Academy — Film at Lincoln Center's program for young filmmakers — and was moderated by our executive producer Amanda Schneider.“We talked a lot about character arc for the soundscape… There is a tendency to neglect sound in the conception stage. And if you think about your soundscape as a character, then you can have an arc for that soundscape so that the audience doesn't become numb, with a relentless soundscape that is not ebbing and flowing.”— Nikyatu Jusu, Writer and Director, "Nanny"Be sure to check out "Nanny" on Prime Video.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

On this episode, I spoke to supervising sound editor and re-recording mixer Chris Chae and re-recording mixer Skip Lievsay about their work on Causeway.  Chae is an Emmy nominee for Fahrenheit 451.  Lievsay is an Oscar winner for Gravity (5x nominee), a 2x Emmy nominee, and a BAFTA Award winner (5x nominee).

Roma discussion with writer/director/producer Alfonso Cuarón, production designer Eugenio Caballero, producer Gabriela Rodriguez, re-recording mixer Skip Lievsay, and actors Marina de Tavira and Yalitza Aparicio on November 4, 2018 at the Samuel Goldwyn Theater. Moderated by John Horn.

By the pricking of my thumbs, Deep Cut Upkeep this way comes! After splitting from his brother Ethan last year, Joel Coen went back to the book and then threw it out the window with his divisive, postmodern take on Shakespeare's Macbeth. Glorious set design, gorgeous cinematography, but methinks that none of the Deep Cut Trio are convinced: Wilson isn't moved by Denzel Washington's lead performance, Ben finds the heightened artifice pointless, and Eli finds Coen's examination of the themes in the text to be lacking. But hey: there's always Skip Lievsay, shining golden boy of the aural sense. I have bought golden opinions from all sorts of people in our Discord server. Keep up with Deep Cut on Instagram, Twitter, Facebook, and Letterboxd. CREW: Director: Joel Coen Producers: Joel Coen, Frances McDormand, Robert Graf Writers: Joel Coen, William Shakespeare Editors: Joel Coen, Lucian Johnston Cinematographer: Bruno Delbonnel Production Design: Stefan Dechant Art Direction: Jason T. Clark Set Decoration: Nancy Haigh, Tim Croshaw, Jane Wuu, Michael Thurman, Trinh Vu, Colin Sieburgh Visual Effects: Alex Lemke, Michael Huber, Rich Pernice Composer: Carter Burwell Sound: Skip Lievsay, Paul Urmson, Peter F. Kurland Costumes: Mary Zophres Michelle Kurpaska Mark Avery Make-Up: Jean Ann Black Josh Foster CAST: Macbeth: Denzel Washington Lady Macbeth: Frances McDormand Ross: Alex Hassell Banquo: Bertie Carvel Duncan: Brendan Gleeson Macduff: Corey Hawkins Malcolm: Harry Melling Lennox: Miles Anderson Donalbain: Matt Helm Lady Macduff: Moses Ingram Witches / Old Man: Kathryn Hunter Fleance: Lucas Barker Porter: Stephen Root Angus: Robert Gilbert Macduff's Son: Ethan Hutchison Seyton: James Udom Siward: Richard Short Monteith: Sean Patrick Thomas Captain: Ralph Ineson Doctor: Jefferson Mays Wheyface: Jacob McCarthy

Academy Award-winning sound artist Skip Lievsay has worked with some of the greatest filmmakers for the past several decades, including Martin Scorsese, Darren Aronofsky, Michael Moore, Alfonso Cuarón, and his most frequent collaborators, the Coen Brothers. In this in-depth interview, Skip tells us some of his greatest tricks of the trade, whether working with first-time filmmakers or directors of the highest calibre. Specifically, being brave enough to experiment and even get things "wrong," even if that leads to some awkward moments on the mix stage. "That's a valid, valuable experiment. We do that all the time. You don't know how far is too far until you go there. And you don't know if too far is not good until you find out, one way or the other." — Skip Lievsay https://tv.apple.com/us/movie/the-tragedy-of-macbeth/umc.cmc.4wpfk1xmi22h3zyv4a10lj1tw (Skip's latest film, "The Tragedy of Macbeth," directed by Joel Coen is available on AppleTV+ as of January 14). 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 Deep Cut trio returns for season 2 with the first of four whole episodes on the renowned American writer/director/editor brothers, Joel & Ethan Coen. First up is the popular pick, No Country for Old Men (2007). Ben, Wilson, and Eli track down knowledge on sound designer Skip Lievsay's focused audio, appreciate the menace of Javier Bardem (and his wig), and begin to piece together the Coens' themes on the consequences of American greed and violence. Flip a coin and join our Discord server to talk about the Coens directly with Wilson, Ben, and Eli.

In this episode we talk with the sound team behind the excellent new film Judas and The Black Messiah. We dig deep into a standout scene involving a speech to an exuberant crowd with lots of call and response happening. Marlowe Taylor talks about how he captured the sounds on set, as Production Mixer. Rich Bologna explains how he edited those sounds, in post, to create the intensity, and re-recording mixer, Skip Lievsay, tells us how he made it all sound HUGE.

In this episode we talk with the sound team behind the excellent new film Judas and The Black Messiah. We dig deep into a standout scene involving a speech to an exuberant crowd with lots of call and response happening. Marlowe Taylor talks about how he captured the sounds on set, as Production Mixer. Rich Bologna explains how he edited those sounds, in post, to create the intensity, and re-recording mixer, Skip Lievsay, tells us how he made it all sound HUGE.

EPISODE 93 - SKIP LIEVSAY - Sound Designer/Editor/Mixer Team Deakins has the chance to catch up with Skip Leivsay, the guru of sound. We use the opportunity to learn the different roles and responsibilities in the sound department, from onset mixer to re-recording mixer, sound editor, and sound designer. He shares with us some experiences on the films, True Grit, Inside Llewyn Davis, No Country for Old Men, and O Brother, Where Art Thou. We learn how the sound was conceived and executed for the movie Gravity. He also talks about working with Robert Altman and his love of sound. He even gets into the different sound formats and why one format might suit a movie better than another as well as choices of mics on the shoot. A great look into the world of movie sound!

We are raiding the Audio Long Reads archives and bringing you some classic pieces from years past, with new introductions from the authors. This week's article: Skip Lievsay has created audioscapes for Martin Scorsese and is the only sound man the Coen brothers go to. But the key to this work is more than clever effects, it is understanding the human mind. By Jordan Kisner. Help support our independent journalism at theguardian.com/longreadpod

The Safdie Brothers break down their improbable 10 year journey to making "Uncut Gems," working their way through a handful of different NBA stars (including Kobe Bryant), while "earning their stripes" and learning how to tell a story of this scale. What it meant to go union, how famed cinematographer Darius Khondji helped shape the project and sound mixer Skip Lievsay introduced them to incredible possibilities with sound.

Join filmmakers Josh & Benny Safdie for a behind-the-scenes conversation about their new film Uncut Gems. The brothers discuss how they used sound design and music to create the perilous, uncomfortable world of Adam Sandler’s character, Howard Ratner. They are joined by composer Daniel Lopatin, who talks about using the classic 1970s Moog synthesizer to create the movie’s emotional score, and re-recording mixer Skip Lievsay, who talks about how he used Dolby Atmos to give the audience the experience of being in the world of the characters. Recorded in front of a live audience at the New York Film Festival Artist Academy. Josh Safdie, Co-writer, Co-director Benny Safdie, Co-writer, Co-director Daniel Lopatin, Composer Skip Lievsay, Re-recording mixer

In this episode we check in with Skip Lievsay & Blake Leyh to talk about their recent work on the bio-pic Harriet. They discuss bringing the sound of the 1800s to the screen, dealing with studio execs on the mix stage and their many years of collaboration since their first shared credit on 1991's Barton Fink.

In this episode we check in with Skip Lievsay & Blake Leyh to talk about their recent work on the bio-pic Harriet. They discuss bringing the sound of the 1800s to the screen, dealing with studio execs on the mix stage and their many years of collaboration since their first shared credit on 1991's Barton Fink.

Join B-Man as he celebrates National Procrastination Week by talking about a couple of subjects he's a bit behind on - a 2019 Oscars Recap and his 2018 Year in Movies Review. What are you waiting for? Let's get this episode started!   Abbreviated 2019 Academy Award Nominations & Winners:   Best Picture: “Black Panther” “BlacKkKlansman” “Bohemian Rhapsody” “The Favourite” “Green Book” (WINNER) “Roma” “A Star Is Born” “Vice”   Lead Actor: Christian Bale, “Vice” Bradley Cooper, “A Star Is Born” Willem Dafoe, “At Eternity’s Gate” Rami Malek, “Bohemian Rhapsody” (WINNER) Viggo Mortensen, “Green Book”   Lead Actress: Yalitza Aparicio, “Roma” Glenn Close, “The Wife” Olivia Colman, “The Favourite” (WINNER) Lady Gaga, “A Star Is Born” Melissa McCarthy, “Can You Ever Forgive Me?”   Supporting Actor: Mahershala Ali, “Green Book” (WINNER) Adam Driver, “BlacKkKlansman” Sam Elliott, “A Star Is Born” Richard E. Grant, “Can You Ever Forgive Me?” Sam Rockwell, “Vice”   Supporting Actress: Amy Adams, “Vice” Marina de Tavira, “Roma” Regina King, “If Beale Street Could Talk” (WINNER) Emma Stone, “The Favourite” Rachel Weisz, “The Favourite”   Director: Spike Lee, “BlacKkKlansman” Pawel Pawlikowski, “Cold War” Yorgos Lanthimos, “The Favourite” Alfonso Cuarón, “Roma” (WINNER) Adam McKay, “Vice”   Animated Feature: “Incredibles 2,” Brad Bird “Isle of Dogs,” Wes Anderson “Mirai,” Mamoru Hosoda “Ralph Breaks the Internet,” Rich Moore, Phil Johnston “Spider-Man: Into the Spider-Verse,” Bob Persichetti, Peter Ramsey, Rodney Rothman (WINNER)   Adapted Screenplay: “The Ballad of Buster Scruggs,” Joel Coen , Ethan Coen “BlacKkKlansman,” Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee (WINNER) “Can You Ever Forgive Me?,” Nicole Holofcener and Jeff Whitty “If Beale Street Could Talk,” Barry Jenkins “A Star Is Born,” Eric Roth, Bradley Cooper, Will Fetters   Original Screenplay: “The Favourite,” Deborah Davis, Tony McNamara “First Reformed,” Paul Schrader “Green Book,” Nick Vallelonga, Brian Currie, Peter Farrelly (WINNER) “Roma,” Alfonso Cuarón “Vice,” Adam McKay   Cinematography: “Cold War,” Lukasz Zal “The Favourite,” Robbie Ryan “Never Look Away,” Caleb Deschanel “Roma,” Alfonso Cuarón (WINNER) “A Star Is Born,” Matthew Libatique   Film Editing: “BlacKkKlansman,” Barry Alexander Brown “Bohemian Rhapsody,” John Ottman (WINNER) “Green Book,” Patrick J. Don Vito “The Favourite,” Yorgos Mavropsaridis “Vice,” Hank Corwin   Sound Editing: “Black Panther,” Benjamin A. Burtt, Steve Boeddeker “Bohemian Rhapsody,” John Warhurst (WINNER) “First Man,” Ai-Ling Lee, Mildred Iatrou Morgan “A Quiet Place,” Ethan Van der Ryn, Erik Aadahl “Roma,” Sergio Diaz, Skip Lievsay   Sound Mixing: “Black Panther” “Bohemian Rhapsody” (WINNER) “First Man” “Roma” “A Star Is Born”   Production Design: “Black Panther,” Hannah Beachler (WINNER) “First Man,” Nathan Crowley, Kathy Lucas “The Favourite,” Fiona Crombie, Alice Felton “Mary Poppins Returns,” John Myhre, Gordon Sim “Roma,” Eugenio Caballero, Bárbara Enrı́quez   Original Score: “BlacKkKlansman,” Terence Blanchard “Black Panther,” Ludwig Goransson (WINNER) “If Beale Street Could Talk,” Nicholas Britell “Isle of Dogs,” Alexandre Desplat “Mary Poppins Returns,” Marc Shaiman, Scott Wittman   Original Song: “All The Stars” from “Black Panther” by Kendrick Lamar, SZA “I’ll Fight” from “RBG” by Diane Warren, Jennifer Hudson “The Place Where Lost Things Go” from “Mary Poppins Returns” by Marc Shaiman, Scott Wittman “Shallow” from “A Star Is Born” by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice (WINNER) “When A Cowboy Trades His Spurs For Wings” from “The Ballad of Buster Scruggs” by David Rawlings and Gillian Welch   Visual Effects: “Avengers: Infinity War” “Christopher Robin” “First Man” (WINNER) “Ready Player One” “Solo: A Star Wars Story”

In this two-part episode, Writer/Director Alfonso Cuarónjoins his sound, picture, and music editorial artists to discuss the extraordinarily detailed work that went into re-creating the Mexico City of his 1970s childhood, including how not having a musical score keeps the audience guessing what will happen next, why it was important to have the dialog emanate not just from the screen channels but all around the audience, and how shooting the movie in sequence allowed for more spontaneous performances. In part two, Supervising sound editor & re-recording mixer Skip Lievsay takes us on a deep dive discussion of how the film’s complex tracks were constructed, including a discussion of the 70-day final mix of the film. Alfonso Cuarón, Writer/director Skip Lievsay, Supervising sound editor & Re-recording mixer Craig Henighan, Sound designer and Re-recording mixer Jose Garcia, Production sound mixer Adam Gough, Picture editor Lynn Fainchtein, Music supervisor Carlos Morales, Post-production supervisor

Academy Award-winning sound supervisor and re-recording mixer Skip Lievsay talks about the extraordinary sound work behind director Alfonso Cuarón’s epic black-and-white film about his own childhood in 1970s Mexico City. Skip talks about how not having a musical score keeps the audience guessing what will happen next, why it was important to Cuarón to have the dialog emanate not just from the screen channels but from all around the audience, the stunning five-day loop group recording session with 350 actors, and the 70-day final mix of the film. Sponsored by The Dolby Institute The Dolby Institute develops educational programming to help you advance the art of storytelling, whether you're making a film, mixing the sound for a sporting event, or designing the next-generation virtual reality experience. www.dolby.com/us/en/dolby-institute.html

Oscar®-winning sound artist, Skip Lievsay, talks about his work on Alfonso Cuarón’s epic black-and-white film about his own childhood in 1970s Mexico City. Check out the https://youtu.be/6MUwqTmdb8Y (video) for this episode. 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).

In this episode Timothy sits down with Skip Lievsay in his personal studio at Warner Brothers New York.  Skip waxes eloquently about finding a film's "sound", the differences between working in LA and NYC, and a career spent working on some of the best films of the last 30 years.

In this episode Timothy sits down with Skip Lievsay in his personal studio at Warner Brothers New York.  Skip waxes eloquently about finding a film's "sound", the differences between working in LA and NYC, and a career spent working on some of the best films of the last 30 years.

Composer Carter Burwell and sound designer/mixer Skip Lievsay talk about their remarkable 30-year collaboration with the Coen Brothers and share stories starting with Blood Simple in 1985 and continuing through all 17 of the Coen’s films. Scenes are discussed from Raising Arizona, Miller’s Crossing, The Man Who Wasn’t There, Burn After Reading, and you’ll learn how it turns out there is actually musical score in No Country for Old Men. 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.

In November of 2016 Tonebenders went on an sound nerds tour of New York City. We visited some of the city's top post audio studios and interviewed many of the talented sound professionals working in NYC. In this episode host Timothy and guest co-host Teresa Morrow (a busy re-recording engineer based in Toronto) tell us about the trip and play clips of many of the interviews they did while in the Big Apple. Featured in the Episode are Skip Lievsay, Tom Fleischman, Nicholas Renbeck, Bob Hein and many more.

In November of 2016 Tonebenders went on an sound nerds tour of New York City. We visited some of the city's top post audio studios and interviewed many of the talented sound professionals working in NYC. In this episode host Timothy and guest co-host Teresa Morrow (a busy re-recording engineer based in Toronto) tell us about the trip and play clips of many of the interviews they did while in the Big Apple. Featured in the Episode are Skip Lievsay, Tom Fleischman, Nicholas Renbeck, Bob Hein and many more.

It's time for Henry to face Paulie and apologize. The sausage and peppers becomes quite the distraction. Plus, Skip Lievsay, need we say more?

Who could forget the psychedelic jams of The Big Lebowski; the old-timey ballads of the Soggy Bottom Boys in O Brother, Where Art Thou?; or the eerie silence, minus the sound of Javier Bardem's cattle prod, in No Country for Old Men? Composer Carter Burwell and sound mixer Skip Lievsay, who've worked on almost every Coen brothers movie, discuss the unique sound they create, and reveal further details on the upcoming Coen brothers movie Hail, Caesar!

This week: Jonah Hill’s search for the perfect coupling … Skip Lievsay explains how movies should sound … Life imitates board games imitating life (but not The Game of Life) … One mother’s love-hate relationship with a thousand plastic blocks … Getting what you pay for with luxury toast … The creator of “House of […]

Ever since the creation of the talkie, sound in film has been evolving. The Dolby Institute brings together top sound designers to discuss what it really takes to create the sound of a film, and the army it takes just to hear a pin drop. Panelists include Academy Award® winning sound mixer Skip Lievsay (Gravity) and music supervisor Susan Jacobs (Silver Linings Playbook). They'll explore scenes from their work and divulge the strategy behind using sound as a storytelling tool. Moderated by Glenn Kiser of the Dolby Institute.

This week: Jonah Hill’s search for the perfect coupling … Skip Lievsay explains how movies should sound … Life imitates board games imitating life (but not The Game of Life) … One mother’s love-hate relationship with a thousand plastic blocks … Getting what you pay for with luxury toast … The creator of “House of […]