Podcasts about Skywalker Sound

Spybot is Proxy David W. Collins is an actor and voice actor with extensive work at Skywalker Sound. You've seen and heard his work on shows and video games like Maul: Shadow Lord, The Mandalorian, Skeleton Crew, Star Wars: The Force Unleashed, and nearly every other Star Wars project over the last 20 years. In our chat, we will discuss his origin story, his work as Spybot on Maul, whether Proxy informs his work as Spybot, his sound design and editing work on Maul and other projects, and wearing different hats in the entertainment world. For more on David W. Collins, please visit the following - Instagram - @davidwcollins His podcast - The Soundtrack Show - https://podcasts.apple.com/us/podcast/the-soundtrack-show/id1351960656 Pop Culture Addicts Theme song "Racing in Darkness" by Nautilus '54 - https://nautilus54.bandcamp.com/album/the-fell-star-2 For more on our show partners - Level Up Sabers - https://bit.ly/LevelUpFSF Once Upon a Tee - https://www.onceuponatee.net/?ref=pcapod Sign Up for Free Loot here - www.pcapod.com/contact For more on our Show - Join our Patreon: https://www.patreon.com/c/popcultureaddicts Join our Discord! https://discord.gg/cpry4fCDTq Visit our website: https://www.pcapod.com PCA on Instagram, and Threads - @pcapodshow This podcast is powered by Pinecast.

Spybot is Proxy David W. Collins is an actor and voice actor with extensive work at Skywalker Sound. You've seen and heard his work on shows and video games like Maul: Shadow Lord, The Mandalorian, Skeleton Crew, Star Wars: The Force Unleashed, and nearly every other Star Wars project over the last 20 years. In our chat, we will discuss his origin story, his work as Spybot on Maul, whether Proxy informs his work as Spybot, his sound design and editing work on Maul and other projects, and wearing different hats in the entertainment world. For more on David W. Collins, please visit the following - Instagram - @davidwcollins His podcast - The Soundtrack Show - https://podcasts.apple.com/us/podcast/the-soundtrack-show/id1351960656 Pop Culture Addicts Theme song "Racing in Darkness" by Nautilus '54 - https://nautilus54.bandcamp.com/album/the-fell-star-2 For more on our show partners - Level Up Sabers - https://bit.ly/LevelUpFSF Once Upon a Tee - https://www.onceuponatee.net/?ref=pcapod Sign Up for Free Loot here - www.pcapod.com/contact For more on our Show - Join our Patreon: https://www.patreon.com/c/popcultureaddicts Join our Discord! https://discord.gg/cpry4fCDTq Visit our website: https://www.pcapod.com PCA on Instagram, and Threads - @pcapodshow This podcast is powered by Pinecast.

Sam Witwer — the voice of Maul himself! — joins us alongside supervising director and executive producer Brad Rau and supervising sound editor, sound designer, and re-recording mixer David W. Collins to discuss the voice, sound, and cinematic scale of “Star Wars: Maul - Shadow Lord.” Together, they explore how the series deepens one of Star Wars' most iconic villains, from Witwer's layered vocal performance and Maul's emotional complexity to the show's bold sound design and Dolby Atmos® mix. Collins also reflects on carrying forward the sonic legacy of Skywalker Sound, while staying open to the strange, unexpected discoveries that have always helped make Star Wars sound like Star Wars.“Sounds can come to you at the most random times. It really is that random encounter with something that sounds funny that ends up being the gold. When I was doing recording for the next season, there's stuff that I recorded and whether I use it or not, I'm still not sure, but I'm building a library constantly by finding stuff that sounds really interesting around the house. I told this story once where I was at my daughter's game and I thought the smack of an aluminum bat would be a great element inside a laser blast, because it has that wonderful tink and echo that you could put a real low end thud in the front of that and it would be this weird thing you could process. I've done that... I just try and keep my ears open and try and learn from Ben Burtt or anyone at Skywalker that has told similar stories, because it's usually the happy accidents that cause something unexpected, which Star Wars is all about.”—David W. Collins, Supervising Sound Editor, Sound Designer, and Re-Recording Mixer, “Star Wars: Maul - Shadow Lord”Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on YouTube.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

This week, guests can get a better idea of the weather for their Disney vacations, Magic Keyholders are getting a new perk, more details released for Halloween Time, a new partnership for transportation around the Anaheim Resort, Disneyland Handcrafted receives major recognition, we talk to James and Tage about their recent transatlantic cruise, and more! Please support the show if you can by going to https://www.dlweekly.net/support/. Check out all of our current partners and exclusive discounts at https://www.dlweekly.net/promos. News: Disney partnered with AccuWeather to create a new forecasting system called “Disney Weather Check” specifically for their theme parks and resorts. The service has its own mobile setup that alerts guests with real-time updates and matches Disney's internal safety rules. Visitors can use features like “MinuteCast” and “RealFeel” to see exactly when it will rain and what the weather actually feels like while they are walking around the parks. – https://www.micechat.com/436589-disneyland-update-summer-builds-shady-spots-kids-rule/ https://www.laughingplace.com/disney-parks/disney-weather-check-accuweather-disney-parks/ Attention Magic Keyholders, Disneyland is introducing a new perk! Current Magic Key holders who renew any pass type between May 27, 2026, and May 26, 2027, will receive a free Disney Dining Card. The value of the card depends on the pass tier being renewed, ranging from $25 for the Imagine Key up to $100 for the Inspire Key. Unlike standard Disney Gift Cards, these promotional dining cards can only be used to purchase food and beverages at the parks and cannot be used for retail merchandise. – https://www.micechat.com/436589-disneyland-update-summer-builds-shady-spots-kids-rule/ Once again Halloween Time is starting in late August on the 21st and running through Halloween on October 31st. Mickey, Minnie, and their pals will be dressed in new harlequin motifs for the 2026 season. Decor, Haunted Mansion Holiday, Halloween Screams, and Disney's Happiest Haunts Guided Tour all are back for the season. Oogie Boogie Bash also returns for 33 nights throughout August to October, with the Sunday, September 27th date being for D23 Members only. The Oogie Boogie Bash VIP tour returns this year starting on August 30th. – https://disneyparksblog.com/dlr/halloween-and-fall-celebrations-at-disneyland/ Following the closure of the Anaheim Transportation Network, the Disneyland Resort has partnered with Lyft to provide reliable transportation for guests staying at Good Neighbor Hotels. To celebrate the partnership, new Lyft users can get 50% off two rides using the promo code 50MAGIC, while existing users can get 10% off an XL ride with the code XL10. These special discounts are active for the summer season and remain valid through September 8, 2026. – https://www.laughingplace.com/disney-parks/lyft-disneyland-good-neighbor-hotel-savings/ The documentary Disneyland Handcrafted earned major recognition for its craftsmanship, winning multiple Telly Awards including a Gold Telly for its incredible historical accuracy. Directed by Leslie Iwerks, the film uses beautifully restored archival footage to show the immense effort and tight deadlines required to build Walt Disney's original theme park for its 1955 opening. The project was further elevated by the team at Skywalker Sound, who painstakingly re-created realistic background audio for the original silent reels to bring the historical footage to life. – https://disneyparksblog.com/disney-experiences/disney-experiences-earns-recognition-at-the-telly-and-shorty-awards/ Disney is celebrating the 250th anniversary of the United States with “Disney Celebrates America.” This set of events will take place starting on June 29th with a 2-hour special on ABC called “Disney Celebrates America: The Pursuit of Happiness.” This special will be coast-to-coast at both resorts. On the evening of July 3rd and continuing through July 4th, the entire Disney broadcast empire will celebrate America across all 50 states, exploring the people, places, and moments of the nations 250 year history. For all of the details, visit the link in the show notes. – https://www.laughingplace.com/disney-business/disney-celebrates-america-lineup/ SnackChat: Pride Nite eats – https://www.instagram.com/p/DZDoV66Gtsl/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== https://www.laughingplace.com/disney-parks/dlr-pride-nite-foodie-guide-2026/ Discussion Topic: Tage and James's Cruise – https://www.dlweekly.net/103/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

May the Fourth be with you! On this episode of The Movie Podcast, Daniel, Shahbaz, and Anthony are joined by Emmy Winner David W. Collins from Skywalker Sound for a force-filled conversation on the sounds of Star Wars. David W. Collins is a veteran Sound Designer and Re-Recording Mixer whose career began as an intern on the scoring stage at Skywalker Sound. He went on to spend over a decade at LucasArts as a Sound Designer, Audio and Voice Director, later serving as Sound Design Manager at Sony PlayStation, and now works once again at Skywalker Sound. He is currently the Supervising Sound Editor, Sound Designer, and Re-Recording Mixer on Star Wars: Maul – Shadow Lord, where he also voices Spybot in the series. Watch and listen to The Movie Podcast now on all podcast platforms, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheMoviePodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Try it risk-free now with a 30-day money-back guarantee! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our new ⁠⁠⁠⁠The Movie Podcast Clips Channel!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contact: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hello@themoviepodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW US⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Daniel on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Shahbaz on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Anthony on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The Movie Podcast on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rotten Tomatoes⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

MAUL: SHADOW LORD is here! Join Travis and Kara for all the MAUL things as they break it all down:The AnimationThe SoundThe StoryStandout CharactersScene-by-Scene of each episodeSpeculation for what's to come!Also, don't miss our THE MANDALORIAN AND GROGU Minute where we catch you up to speed on what's happening with the press run leading up to the movie release on May 22!Find the show on Instagram and TikTok at forcetimepod! Support the show on Patreon here!Find all of Kara's info (Patreon, Instagram, Updates) here!"Robobozo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0http://incompetech.com/creativecommons/by/4.0

In this episode, I chat with Academy Award-winning sound designer Randy Thom about his journey from college radio to shaping the soundscapes of some of cinema's most iconic films.We discuss:Growing up loving movies and discovering sound via college radio in OhioMaking a cold call to Walter Murch and landing a job on Apocalypse NowEarly sound experiments at Skywalker RanchRecording effects for The Empire Strikes Back and Raiders of the Lost ArkCollaborating with Robert Zemeckis and David LynchWhy sound should be involved in pre-productionThe evolution from analog to digital workflowsThe creative and economic impact of AI on film soundThe philosophy behind “inventing” sonic spaceWinning an Oscar for The Right StuffWinning a BAFTA for The RevenantRandy also reflects on mentorship, collaboration at Skywalker Ranch, and why storytelling always matters more than authenticity.Listen now and take a deep dive into the craft of cinematic sound.See below for all the links you might need!This podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Grab your bookmarks, it's time to take cover as we unleash the Canon Fodder over the Star Wars galaxy of literature. Join Mark on Fantha Tracks Radios Canon Fodder as we celebrate Star Wars Podcast Day 2026 and the 27th anniversary of the very first Star Wars podcast, Jedi Talk which premiered on 7th February 1999. This episode he is joined by author, Star Wars Celebration stage host and writer for ILM and Skywalker Sound websites Clayton Sandell to discuss his Star Wars journey so far. It's the sixth of seven Fantha Tracks Radio episodes across the weekend on this very special episode of Canon Foddder. #StarWarsPodcastDay2026 #SWPD2026 Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. Subscribe and tune in to all of our shows at https://radio.fanthatracks.com And of course for all your Lucasfilm and Star Wars news 24/7, 365 days a year head on over to https://www.fanthatracks.com You can contact our shows and send in your listeners questions by emailing radio@fanthatracks.com or by leaving a comment on our social media feeds: https://www.instagram.com/fanthatracks https://www.facebook.com/FanthaTracks https://www.x.com/FanthaTracks https://www.threads.net/@FanthaTracks https://www.reddit.com/r/fanthatracks/ https://mastodon.social/@fanthatracks https://bsky.app/profile/fanthatracks.com https://www.pinterest.co.uk/fanthatracks/ https://fanthatracks.tumblr.com/ And be sure to check out our live streams and video content at: https://www.youtube.com/@FanthaTracksTV/ https://www.tiktok.com/@fanthatracks https://www.twitch.com/fanthatrackstv All of our links can be found at https://links.fanthatracks.com/

In Conversation, Ep.18 | Paddy Hanlon CAS sits down with Oscar-winning sound designer and re-recording Mixer Randy Thom CAS of Skywalker Sound. The CAS Career Achievement Honoree, reveals the stories and philosophies behind decades of groundbreaking movie magic. From his rock-and-roll radio roots to shaping the sonic landscapes of classics like Apocalypse Now, Star Wars, and The Incredibles. This episode of In Conversation was recorded in New York and California. Total Running Time: 01:28

Welcome to a very special episode of Making Tracks as Mark Newbold travels to the Cumberland Hotel, near Marble Arch in London for an up-close look at Boba Fett's Hero Screen, Photo, and Serial Number-Matched EE-3 Carbine Rifle from The Empire Strikes Back, which heads to the Entertainment Memorabilia Live Auction - London Winter 2025 on 5th - 7th December in London. A small fan audience (along with the worlds media) were invited to see this unique prop for ourselves, along with other amazing items including an original Ralph McQuarrie painting, C-3PO's hand, a stormtrooper rifle, Obi-Wan Kenobi's lightsaber from The Phantom Menace, a 12" Luke Skywalker model from 'Empire' and an Rebel pilots helmet. Mark spoke with Propstore owners Brandon Alinger and Stephen Lane, as well as fellow attendee and ILM and Skywalker Sound writer Jamie Benning from the Filmumentaries podcast on this special episode of Making Tracks. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. Thanks to James Semple for the Fantha Tracks intro, Blues Harvest for our Making Tracks opening music and Mark Daniel and Vanessa Marshall for our voiceovers. Subscribe and tune in to all of our shows at https://radio.fanthatracks.com And of course for all your Lucasfilm and Star Wars news 24/7, 365 days a year head on over to https://www.fanthatracks.com You can contact our shows and send in your listeners questions by emailing radio@fanthatracks.com or by leaving a comment on our social media feeds: https://www.instagram.com/fanthatracks https://www.facebook.com/FanthaTracks https://www.x.com/FanthaTracks https://www.threads.net/@FanthaTracks https://www.reddit.com/r/fanthatracks/ https://mastodon.social/@fanthatracks https://bsky.app/profile/fanthatracks.com https://www.pinterest.co.uk/fanthatracks/ https://fanthatracks.tumblr.com/ And be sure to check out our live streams and video content at: https://www.youtube.com/@FanthaTracksTV/ https://www.tiktok.com/@fanthatracks https://www.twitch.com/fanthatrackstv All of our links can be found at https://links.fanthatracks.com/

Last year I got to go to the Sonic Days Conference in Denmark, to do a bunch of interviews with the various people doing presentations about their sound work. With the schedule and presenters for the 2025 edition of the conference now announced, these interviews can give you an idea of what to expect. First up is Shelley Roden, foley artist from Skywalker Sound. Next, game Sound Designer, Katrine Amsler talks about her desire for everyone to find bespoke workflows that meet their own needs. The organizer of the conference, Lars Tirsbæk then gives us a quick history of Sonic Days and Sonic College where the conference resides. Leslie Gaston-Bird talks about the need for skill diversification to make a career in audio and all the different roles she is performing. Finally Sound Designer Peter Storm Wich and picture editor Anne Østerud discuss their collaboration on director Thomas Vinterberg's "Families Like Ours". Head to www.sonicdays.com to see the 2025 schedule and who will be presenting this year. SPONSOR: After over a year of dedicated work, the entire Sound Ideas sound effects collection, over 500,000 individual files, has been upgraded to the Universal Category System's, filename and metadata standards. With this enhancement, sounds are now more organized, searchable, and ready for seamless integration into your workflow. Head over to https://www.sound-ideas.com/Page/ucs-data-upgrade to learn more. Episode Notes: https://tonebenderspodcast.com/330-sonic-days-interviews/ Podcast Homepage: https://tonebenderspodcast.com This episode is hosted by Timothy Muirhead

The legendary team from Skywalker Sound, Supervising Sound Editor Al Nelson, Lead Sound Effects Editor Luke Dunn-Gielmuda, and Sound Design Assistant Andree Lin join us for Part 2 of F1, the movie. From working with Joseph Kosinski, collaborating with Sir Lewis Hamilton, to drawing lessons from Top Gun: Maverick, the team breaks down how they reconstructed the visceral sounds of Formula 1 racing. We explore the artistry and technical precision behind building engines from silence, capturing the rush of speed, and crafting a sonic experience that feels authentic not only to everyday listeners, but to the most die-hard Formula 1 fans. This is sound design at full throttle. This episode is proudly brought to you by our technology partner Sony Produced by Deb Van Dieren Hosted and edited by Hannah Ariotti

Another live panel from Dragon Con - Bryan Young took the stage with Matthew Wood, Henry Gilroy, and Fon Davis to talk about the legacy George Lucas left behind with Industrial Light and Magic, Skywalker Sound, and Lucasiflm Animation in front of a live audience.

An award-winning foley artist at Skywalker Sound that has created and performed foley sound effects for over two hundred live action and animated films and TV series including such projects as Top Gun: Maverick, Jurrasic World Rebirth, F1, The Mandalorian, Andor, Toy Story 4, Inside Out 2 and Soul.   Her favorite projects include Black Panther:  Wakanda Forever and The Black Panther, Pixar's Lightyear andTurning Red, Disney's Encanto and Raya and the Last Dragon, and Glass Onion:  A Knives Out Mystery.  For a full list of credits, visit IMBD. Shelley has designed and conducted in-person and virtual foley presentations and workshops for college students to help them learn to listen, invent, and problem solve through the art of foley.  Roden has also led workshops for high school, elementary school, and at-risk youth and is actively mentoring two young foley artists. She is in the process of writing a non-fiction book featuring personal interviews with veteran foley artists.

When director Joe Kosinski and producer Jerry Bruckheimer set out to make “F1,” their goal was to create the most authentic Formula One film ever made. Recorded in person at Skywalker Sound, this episode features the sound team behind the film, who share how they brought that vision to life. They discuss the extraordinary lengths they went to in order to craft a visceral, true-to-life experience for racing fans and everyday viewers alike — while also highlighting the invaluable support they received from the production and the film's director, Joe Kosinski.“I would say Joe is the grand master at giving us these opportunities [to succeed]. God bless him, because he gets it. He knows you can't just say, ‘I want this to be an authentic Formula One movie — figure it out.' He was like, ‘We're going to start early. We're going to give you whatever resources you need. And everything is going to be 100% perfect.' And he's not like, ‘This has to be perfect.' It's just, ‘We're going to do this together. What do you need? I'm going to help you. Let's get going.'”—Al Nelson, Supervising Sound Editor, “F1”Joining today's conversation: - Al Nelson – Supervising sound editor/sound designer - Juan Peralta – Re-recording mixer - Gary Rizzo – Re-recording mixer - Gwendolyn Yates Whittle – Supervising sound editorBe sure to check out “F1,” now in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on YouTube.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Journey with us to Skywalker Ranch and Lucasfilm in San Francisco as we do a full immersive recap of our adventures to these legendary Star Wars locations. It was our first time visiting both, it all happened in one weekend, and we have so many fun and surreal stories! Please checkout our new site trbpodcasts.com for easy access to our podcasts and our brand new merch shop! If you like having a good time talking Star Wars, you've found a great spot! Welcome to the Resistance! Thank you Lucasfilm and Skywalker Sound for these childhood dream-making opportunities.

This week we are thrilled to welcome back to Blast Points for his fourth chat with us, from Skywalker Sound, the wonderful David W. Collins! Since we've last talked to David, he has been doing sound design and editing for little things like The Bad Batch season 3, Tales of the Empire and Skeleton Crew, Join us as we talk a lot about the incredible sounds of Skeleton Crew, plans for the upcoming Star Wars Celebration Japan and how working on Skeleton Crew led to the score for the gorgeous Star Trek Unification short film. And yes, we talk about the Teek at Port Borgo. So, crank up your music box, celebrate the love and listen today! JOIN THE BLAST POINTS ARMY and SUPPORT BLAST POINTS ON PATREON! COMMENTARIES FOR EVERY SKELETON CREW EPISODE! NEW EMPIRE STRIKES BACK COMMENTARY! Theme Music downloadable tracks! Extra goodies! and so much MORE! www.patreon.com/blastpoints Blast Points T-SHIRTS are now available! Represent your favorite podcast everywhere you go! Get logo shirts while supplies last! Perfect for conventions, dates, formal events and more! Get them here: www.etsy.com/shop/Gibnerd?section_id=21195481 If you dug the show, please leave BLAST POINTS a review on iTunes, Spotify and share the show with friends! If you leave an iTunes review, we will read it on a future episode! Honestly! Talk to Blast Points on twitter at @blast_points leave feedback, comments or ideas for shows! "Like" Blast Points on Facebook for news on upcoming shows and links to some of the stuff we talk about in the show!! Join the Blast Points Super Star Wars Chill Group here www.facebook.com/groups/BlastPointsGroup/ we are also on Instagram! Wow! www.instagram.com/blastpoints Your hosts are Jason Gibner & Gabe Bott! contact BLAST POINTS at : contact@blastpointspodcast.com May the Force be with you, always! This podcast is not affiliated in any way with Lucasfilm Ltd. LLC, The Walt Disney Company, or any of their affiliates or subsidiaries.

The Marks are back to pick the best Meiloorun fruit and bake it into the best news pie this side of the Five Fire Rings of Fornax. This episode we look at the rumours of Ryan Gosling joining the Shawn Levy project, ponder on the claim that Natalie Portman filmed scenes for Obi-Wan Kenobi, look at Oceans 12 writer George Nolfi coming on to the New Jedi Order film, ask whether the second most viewed Disney Plus show of 2024 (The Acolyte) could be revived and celebrate ILM and Skywalker Sound receiving Academy Award nominations. It's full speed to Port Borgo for snacks on another busy episode of Making Tracks. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. Thanks to James Semple for the Fantha Tracks intro, Blues Harvest for our Making Tracks opening music and Mark Daniel and Vanessa Marshall for our voiceovers. You can contact any of our shows and send in your listeners questions by emailing radio@fanthatracks.com or comment on our social media feeds: https://www.youtube.com/@FanthaTracksTV/ https://links.fanthatracks.com/ https://link.chtbl.com/fanthatracksradio www.instagram.com/fanthatracks www.facebook.com/FanthaTracks www.twitter.com/FanthaTracks www.pinterest.co.uk/fanthatracks/ www.fanthatracks.tumblr.com/ www.tiktok.com/@fanthatracks www.twitch.tv/fanthatracks www.threads.net/@FanthaTracks

Bzzz. Shloop! Bang Bang. Wooooosh! It's time for another Mystery Sound Extravaganza.Join Molly and co-host Violet as they figure out what's making some seriously mysterious noises. Plus, they'll interview Foley artist Shelley Roden about the art of making sound effects for movies. And they'll help Bob sort out some mixed up mystery sounds! Tune in and turn on your ears, cuz it's time to guess some confounding sounds!Featured Guests:Shelley Roden is an award-winning Foley artist at Skywalker Sound in Northern, CA. Read more about her work here.

#80: My guest today is Andy Martin, a sound designer and nature recordist based out of Seattle, Washington. Andy's had an incredibly long and varied career in the world of sound design, working on projects such as Grim Fandango, all of the games in the inFAMOUS series, Medal of Honor, and has even worked with Skywalker Sound as a virtual reality sound designer on projects like Vader Immortal. He also has extensive experience in nature field recording as a part of the project NorthWest Soundscapes.   In this episode, we talk about how the winding path Andy took into the world of professional audio, why it's okay to change your career goals and pivot, building a career while having ADHD, Andy's love of nature recording and how's he's turned it into a business, and so much more.   Find Andy here: Website: https://soundeziner.com/andy-martin/ Facebook: https://www.facebook.com/northwestsoundscapes Instagram: https://www.instagram.com/andymartinnaturesound     And if you're interested in making music and sound for games, I have a newsletter and free courses that will get you started, and help you find paying work in games. Just go to http://www.bit.ly/soundbizpod

Episode 422 - The General Grievous Halloween Audio Cast Celebration featuring MATTHEW WOOD and DENNIS VONGALLE It's a Halloween spectacular as we celebrate the 2005 made for StarWars.com General Grievous Audio Cast with Star Wars behind the scenes legends MATTHEW WOOD and DENNIS VONGALLE! Listen as we talk to Matt about him voicing Grievous, Skywalker Sound and how it all somehow connects to the Krayt Dragon yells. AND listen as we talk to Dennis about the official site in the prequel era and how his role in making this wonderful piece of Star Wars history! And stay tuned as we listen to the whole audio cast and dream of Tauntauns. Plus, the epic conclusion to everyone's new favorite tradition, Luke's Fall Fall! Listen to the whole audio cast here : https://youtu.be/uyqS7WEn-iM JOIN THE BLAST POINTS ARMY and SUPPORT BLAST POINTS ON PATREON! COMMENTARIES FOR EVERY ACOLYTE EPISODE! BAD BATCH SEASON 3 REVIEW EPISODES! Theme Music downloadable tracks! Extra goodies! and so much MORE! www.patreon.com/blastpoints SUBSCRIBE ON YOUTUBE TO SEE ALL THE CELEBRATION LONDON SUPER LIVE FROM HOME MADNESS : www.youtube.com/@blastpointspodcast2160/featured Blast Points T-SHIRTS are now available! Represent your favorite podcast everywhere you go! Get logo shirts while supplies last! Perfect for conventions, dates, formal events and more! Get them here: www.etsy.com/shop/Gibnerd?section_id=21195481 If you dug the show, please leave BLAST POINTS a review on iTunes, Spotify and share the show with friends! If you leave an iTunes review, we will read it on a future episode! Honestly! Talk to Blast Points on twitter at @blast_points leave feedback, comments or ideas for shows! "Like" Blast Points on Facebook for news on upcoming shows and links to some of the stuff we talk about in the show!! Join the Blast Points Super Star Wars Chill Group here www.facebook.com/groups/BlastPointsGroup/we are also on Instagram! Wow! www.instagram.com/blastpoints your hosts are Jason Gibner & Gabe Bott! contact BLAST POINTS at : contact@blastpointspodcast.com May the Force be with you, always! This podcast is not affiliated in any way with Lucasfilm Ltd. LLC, The Walt Disney Company, or any of their affiliates or subsidiaries.

From the Automatt to Capitol to Skywalker Sound, Leslie Ann Jones has engineered some of the most epic recordings while blazing a trail for women in the audio industry. We take a dive into her illustrious career.

#74: Today's guest is Nathan Moody, a composer, sound designer, mastering engineer, and interaction designer based out of California. He has worked on an insane variety of projects ranging from The Callisto Protocol, Pentiment, to MLK: Now Is The Time.  He has also created sound effects for World War II Battleships, and is even currently working with Skywalker Sound.   In this episode, we talk about the benefits of being a generalist in the world of professional audio, how Nathan started his full-time sound career after the age of 40, how he built his skillset and network over a huge period of time, how to stand out in an industry where audio is becoming more commoditized, and so much more.   Find Nathan Moody here: Shipscape Website: https://noisejockey.net/main/project/shipscape/ Instagram: https://www.instagram.com/n4th4nm00dy/?hl=en Twitter: https://x.com/noisejockey?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor IMBD: https://www.imdb.com/name/nm11708054/     And if you're interested in making music and sound for games, I have a newsletter and free courses that will get you started, and help you find paying work in games. Just go to http://www.bit.ly/soundbizpod

This week, Norma, Rich & Jeff host spatial audio expert Erik Foreman. Erik is a 3x Emmy-winning sound designer, mixer, and producer with an impressive career at Skywalker Sound and Dolby Laboratories.  Erik shares how he cleverly landed a role at George Lucas' legendary Skywalker Sound, where he worked with renowned artists and used state-of-the-art equipment to create exceptional soundtracks. His experiences range from ADR work with Robin Williams, Ang Lee, and Ronnie James Dio to sound design and mixing projects with Genndy Tartakovsky, Ryan Coogler, and Robert Rodriguez.During his time at Dolby, Erik was responsible for showcasing the awesomeness of Dolby Atmos. Utilizing the science of sound and its engineering, he became an expert in Dolby Atmos, educating audiences worldwide. He collaborated closely with high-profile artists like Hank Shocklee & Perry Farrell. Join us audiophiles as Erik discusses the significance of immersive audio on this week's episode of MOVIES WITH...Send us a Text Message.Thank you for listening! Please visit our website at www.nrjmediagroup.com to learn more.

We delve into the legacy of Bob Heil, a titan in the pro audio industry whose influence reverberates through the echoes of rock and roll history. From his early days wielding the organ to revolutionizing live sound with his groundbreaking work alongside legends like The Who and Grateful Dead, Heil's journey is one of innovation, passion, and an indelible mark on music technology. We're treated to an exclusive clip from a memorable interview, uncovering the story behind the iconic talk box and its role in Peter Frampton's electrifying performances. Alongside reflections from our hosts and the fond recollections of interactions with Heil, this episode serves as a tribute to a man whose work amplified the soul of music.  Celebrating the Legacy of Bob Heil: A Look Back at the remarkable career of an audio industry pioneer, from his beginnings as an organ player to his revolutionary contributions to pro audio and live sound. Exclusive Insights: Featuring a clip from a 2017 interview with Bob Heil at the NAMM show, shedding light on his history, innovations, and the creation of the iconic talk box. The Birth of Rock and Roll Sound: How Bob Heil's innovative sound systems changed the game for artists like The Who and Grateful Dead, setting new standards for live music performances. Remembering a Legend: Personal anecdotes and reflections on Bob Heil's impact, his approach to sound engineering, and his legacy within the music and audio production communities. Tribute to a Visionary: Acknowledging Heil's vast contributions, from his early work with organs and sound systems to his influence on modern podcasting and amateur radio.   A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite     George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson   Summary In this episode of The Pro Audio Suite, sponsored by Tribooth and Austrian Audio, the team pays homage to the late Bob Heil, a revered figure in the pro audio industry. Hosted by Robert Marshall, Andrew Peters, George "the tech" Wittam, and Darren Robertson, they reflect on Heil's influential career, from his beginnings playing the organ to revolutionizing the sound systems for rock and roll, particularly for the legendary rock opera "Quadrophenia." Heil, also a dedicated ham radio operator and a friend of Joe Walsh, leaves behind a remarkable legacy. His prowess is exemplified by his creation of the PR 40 microphone, considered the gold standard in podcast mics due to its distinctive tone.  The episode concludes with a remembrance of Bob Heil's innovation, good-natured enthusiasm, and his considerable contributions to pro-audio technology.  #RockAndRollLegacy #ProAudioInnovators #PR40MicMagic Timestamps (00:00:00) Introduction - Tribooth Sponsorship (00:04:34) Bob's Ham Radio and Microphone Endeavors (00:10:02) Evolution of Microphone Brightness (00:10:55) Pro Audio Suite Recording Setup Transcript Speaker A: Y'all ready? Be history. Speaker B: Get started. Speaker A: Welcome. Speaker B: Hi. Hi. Hello, everyone to the pro audio suite. Speaker C: These guys are professional. They're motivated. Speaker A: Thanks to Tribooth, the best vocal booth for home or on the road. Voice recordings and austrian audio making passion heard. Introducing Robert Marshall from source elements and someone audio post Chicago, Darren. Robert Robertson from Voodoo Radio Imaging, Sydney, to the Vo stars, George the tech Wittam from LA, and me, Andrew Peters, voiceover talent and home studio guy. Speaker B: Here we go. Speaker A: And don't forget the code. : Trip a P 200. That will get you $200 off your triboof. And austrian audio making passion heard. Unfortunately, someone won't be heard anymore, which is a sad loss to the industry is Bob Heil, who's had an illustrious career kicking off playing the mighty organ and then becoming a pro audio guy. And George, you had the privilege of catching up with him on numerous occasions, I'm gathering. Speaker C: Yeah, I think more than once. There's just one particular interview from the NAm music trade show here in Anaheim from 2017, where I had a good, long interview, I mean, pretty long for a trade show interview. It was like nine minutes. And he really got a lot into his history. And at the time, I think I was remembering. Let's get onto the topic at hand, you know what I mean? He was giving me a lot of his backstory. And now I look back and I'm like, sure. I'm glad I had that chance. And to really hear it straight from him. I'm sure he's told those stories a thousand times. Right. But it was really cool hearing it from him. I mean, he literally created the sound system and envisioned the sound for quadrophenia. : Oh, really? Speaker B: Yeah. Speaker C: In fact, I have a clip here I can play from that interview where he talks about the birth of what he called the birth of rock and roll sound. I think that's what he called it. Here, take a listen. : Just go into the Internet, put in the night. Rock and roll sound was born. It's a true story. It really was the first night. And it was with the Grateful Dead. It's quite a story. They wrote the song trucking about it because they're selling all the gear. Yeah, well, their soundman got confiscated the night before because he wasn't supposed to be out of the state of California. We won't get into that. You can go figure it all out. But they come to St. Louis with no pa, ironically. To where? The Fox theater. Speaker C: The perfect place. : Well, there again, the stage manager calls you. You still have all those speakers? And I said, yeah, talk to this guy, handed the telephone to Garcia. And then we hit the front page of billboard because we went on tour with them out of there. And at that time, nobody had ever played through anything like that. I didn't know that. I'm like, this is pretty good, right? Because I had a longevity board that I had gotten and recording board. I had Macintosh amps. It was a big hi fi. That's what I looked and listened. It was beautiful. It wasn't just a loud pa. It was a beautiful sounding pa. That's new. Speaker C: That was new then. : Well, because of the pipe work. And I learned to listen. I had to voice and tune that as at the age of 15, we started in harmonically. Nobody realizes about the harmonics that are so important. I learned that as a young kid, and it's carried through everything I do. But then I was on the road. We hit the front page of billboard and everybody was calling us. One of them was the who. We ended up with them for six years. And from there it was humble pie. Jay Giles, on and on and on. But then they took Frampton out. He was a star of humble pie. They took him out as a solo act. And his little gal penny was married in my home when they were 18. She called me shortly after. She said, I need a Christmas present for Peter. And I sent her a talk box. You can write the rest of Peter Frampton's history, and it's well defined. You go to our website. : Wow. Yeah, I remember the talk box. Frampton comes alive. And that came out. It was like such a feature, and it was so weird. Like, you'd never heard anything like it before. What a story, though. Speaker C: Yeah. I'd love to get into his brain as to how he actually even came up with that idea. I'm thinking he was hanging a lot with the Grateful Dead when he came. : Up with that idea. I think I know what you're getting at. Speaker C: There was some serious psychotropic stuff activity going on there. But, yeah, I mean, the fact that he started. I didn't get that part of the interview, but he started as an organist, so that's a very high level of musicianship required to play an organ. And then he would set up the organs. He would tune the organs. : He was aware of the organs sound. And those organs have just to know how the PA sounds, because the organ's a big sound. You're aware of loud instruments. Speaker C: Yeah, with a lot of sources. Every pipe, every thousands of pipes. So, yeah, what an incredible background he had. And the. Then, you know, he's out there selling mics at know, which is. That's one of the neatest reasons to get to go to a nam show, is you did get to know a, you know, and you got to talk to him and interact with, you know, Wes Dooley from AEA microphones. Grew up repairing RCA microphones. : He's a trip. Wes Dooley is great. Speaker C: Totally. : Just another booth at Nam. Speaker C: Actually, a living historian. Right. And you get to talk to these folks face to face. It's amazing. But, yeah. I met Bob's daughter, who still works for Heil and still goes out to trade shows and does the beat, and she was very nice, and there's just a heck of a legacy there. So he will be missed for sure. And he was a huge ham radio operator. Amateur radio, as they call, playing organ. : Over the ham radio station like he has his own station. That was just like organ playing, I think, or something. Speaker C: Yeah, it was over. : He was also friends because he's actually from. Well, he died in Illinois. Speaker C: Yeah, he's from St. Louis. : Right. But he was friends with Thomas Holman. Speaker C: Wait a minute. : Thomas Holman started, did the THX protocol. Speaker C: Oh, he's the th and thx, yeah. Oh, wow. : And Thomas Holman ended up, I believe, over with connections to Skywalker Sound and another audio luminary or whatever. Speaker C: So cool. And then Bob also picked up, they picked up Bob to be a host on a podcast called this week in Tech Twit TV, which was the show that influenced me to start my own show 1512 years ago. And he did his own show over there about ham radio. And they did it for quite a long time, actually, until they had to end the show. But they still have his rig that he had built for that show. It's still at the Twitch studios in one corner of the know, a memory of really cool. Speaker B: Really, really cool. : The quirkiest thing, I thought, with Bob was his friendship with Joe Walsh, who was also a ham radio. : Didn't Joe Walsh also use the talk box a bit? Speaker B: Did he? Speaker C: He did. He said later in that interview that Joe Walsh really kind of had it mastered. He really clearly, in hearing his interviews and reading his interviews, how he had an extremely. He was extremely tight with Joe. They were best buddies, and they spent a lot of time talking ham amateur radio together. : Did they go driving in Joe's maserati? Speaker C: Probably. And it was actually Joe who was experimenting with using the mics that Bob had made for doing amateur radio because. : For doing studio work. Speaker C: Yeah. Bob hated the crappy mics. That amateur radio operators were stuck using. So he made a better mic. And then Joe was like, yo, plug this thing into your studio console. And Bob's like, I never would have thought of that. He's like, I'm telling you, it sounds better than an SM 57 or a 58. And he's like, yeah, you're right, it does. And a brand of microphones was born from there. His most well known podcast mic, the one that's kind of the gold standard, is called the PR 40. And it has a distinct tone to it. It has a distinct voice. : Is it kind of big sounding? Speaker C: It's big, and it has a lot of cut, like mid range. : It's like a combo of like an SM seven and a 416 or something. Speaker C: Kind of almost. It doesn't have the top end of a 416, but it definitely has more of a cut. So if you ever listen to Leo Laporte on this week in tech, or any of the shows that Leo does, you'll hear the distinct sound of that mic. It's not a flat or a hi fi mic, it's a broadcast mic. : But it's a dynamic sounding mic. Speaker C: Yes, it's a dynamic mic, and its voicing is designed for being heard. Let's just put it that way. : Yes. Speaker C: The PR 30 and the PR 20, to me, sound a little bit smoother. I like the voicing of them better, personally. But the bottom line is Bob tuned his mics by ear. And he said that specifically later in the interview. I wasn't curious about response curves and all this stuff. I would just go by what I thought sounded right. So those mics are tuned by Bob's ear. And the guy had a good ear, but probably by the time he got into his fifty s, sixty s, seventy s, didn't hear everything. : Did all the mics as he made them throughout the years just get brighter and brighter? Speaker B: It's a good question. Speaker C: It's a good question. I mean, I'm sure he wasn't the only one that put his ears on the mics after quite a while. Joking, but yeah, no, it's true. The sound systems I listened to growing up that were often not eqed well, unfortunately, were often helmed by a gentleman of an older generation. Yeah, I was like, no, too much two k and 4k. My ears are bleeding. : You're accelerating their progression towards mixing. Speaker B: Like you. Speaker C: Anyway, rest in peace, Bob, thank you for all your innovation and your good natured enthusiasm. Enthusiasm towards audio, and we really appreciate it. : Absolutely. Speaker B: Yeah. Well, that was fun. Is it over? Speaker A: The pro audio suite with thanks to tribut and austrian audio recorded using source Connect, edited by Andrew Peters and mixed by Voodoo Radio imaging with tech support from George the tech Wittam. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic, or just say good day, drop us a note at our website, theproaudiosuite.com. #BobHeilLegacy #ProAudioSuite #AudioInnovation #RockAndRollSound #TalkBoxMagic #AustrianAudio #TriBooth #ProAudioLegends #SoundEngineering #MusicHistory

We're kicking off a month long series of episodes all about the Boonta Eve Classic aka The Podrace and what better way to kick things off then talking about the incredible sound of the podrace! JW Rinzler's Sounds of Star Wars book calls the podrace Ben Burtt's greatest achievement in sound and we couldn't agree more. Listen as we analyze the mind blowing soundscape Burtt and his crew at Skywalker Sound made for the film lap by lap and highlight some standout moments and reveal what continues to surprise us 25 years later. So get on your cigarette boat, celebrate the love and listen today! JOIN THE BLAST POINTS ARMY and SUPPORT BLAST POINTS ON PATREON! MANDALORIAN SEASON 3 COMMENTARIES HAPPENING NOW! KENOBI COMMENTARIES! BOOK OF BOOK REVIEW EPISODES! MANDO SEASON 1 & 2 REVIEW EPISODES! BAD BATCH! CLONE WARS ! BLAST POINTS Q&A EPISODES! ! Theme Music downloadable tracks! Extra goodies! and so much MORE! www.patreon.com/blastpoints SUBSCRIBE ON YOUTUBE TO SEE ALL THE CELEBRATION LONDON SUPER LIVE FROM HOME MADNESS : www.youtube.com/@blastpointspodcast2160/featured New Blast Points T-SHIRTS are now available! Represent your favorite podcast everywhere you go! Get logo shirts and classics like the Ben Burtt and Indiana shirt while supplies last! Perfect for conventions, dates, formal events and more! Get them here: www.etsy.com/shop/Gibnerd?section_id=21195481 If you dug the show, please leave BLAST POINTS a review on iTunes, Spotify and share the show with friends! If you leave an iTunes review, we will read it on a future episode! Honestly! Talk to Blast Points on twitter at @blast_points leave feedback, comments or ideas for shows! "Like" Blast Points on Facebook for news on upcoming shows and links to some of the stuff we talk about in the show!! Join the Blast Points Super Star Wars Chill Group here www.facebook.com/groups/BlastPointsGroup/we are also on Instagram! Wow! www.instagram.com/blastpoints your hosts are Jason Gibner & Gabe Bott! contact BLAST POINTS at : contact@blastpointspodcast.com Send show ideas, feedback, voice messages or whatever! May the Force be with you, always! This podcast is not affiliated in any way with Lucasfilm Ltd. LLC, The Walt Disney Company, or any of their affiliates or subsidiaries.

My guest is a seven-time Grammy Award-winning Recording and Mixing Engineer, Record Producer, and Director of Music Recording and Scoring at Skywalker Sound, Leslie Ann Jones. This is part 2 of a two-part interview. In this episode, we discussOperating at a High LevelBeing Present in a SessionProfessionalismMix MagazineSkywalker SoundGeorge LucasSurrounded by GreatnessKnowing Your LimitationsBeing Open to GrowthRiding FadersInstitute for Recording ArtsBe YourselfFinding MentorsRetirementBuying an RVThe Importance of TravelMatt's Rant: Who You Spend Your Time WithLinks and Show NotesLeslie on LinkedinLeslie's Profile at Skywalker SoundCreditsGuest: Leslie Ann JonesHost: Matt BoudreauEngineer: Matt BoudreauProducer: Matt BoudreauEditing: Anne-Marie Pleau WCA Theme Music: Cliff Truesdell Announcer: Chuck Smith

My guest is a seven-time Grammy Award-winning Recording and Mixing Engineer, Record Producer, and Director of Music Recording and Scoring at Skywalker Sound, Leslie Ann Jones. This is part 2 of a two-part interview.  In this episode, we discuss Operating at a High Level Being Present in a Session Professionalism Mix Magazine Skywalker Sound George Lucas Surrounded by Greatness Knowing Your Limitations Being Open to Growth Riding Faders Institute for Recording Arts Be Yourself Finding Mentors Retirement Buying an RV The Importance of Travel Matt's Rant: Who You Spend Your Time With Links and Show Notes Leslie on Linkedin Leslie's Profile at Skywalker Sound Credits Guest: Leslie Ann Jones Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith      

My guest is a seven-time Grammy Award-winning Recording and Mixing Engineer, Record Producer, and Director of Music Recording and Scoring at Skywalker Sound, Leslie Ann Jones. In this episode, we discussGrowing up in Beverly HillsSpike JonesPA CompanyABC StudiosCapital StudiosEducation Via Hi-Fi MagsCreating Cheat SheetsThe Big ChairDanny Thomas's HouseGoing to RehearsalsPlaying with CousinsDoing Live SoundSelf-Taught PathContributing as an EngineerTascam Half Inch 4-TrackSherwood Oaks Experimental CollegeEnjoying a ChallengeWest LA MusicPunching Above Your WeightThe AutomattFred Catero The Bay AreaFirst Digital RecordingTony WilliamsThe Great American Music HallFreelancingStaff Recording JobsSynching MachinesPhil RamoneISDNMatt's Rant: Taking Things off Your PlateLinks and Show NotesLeslie on LinkedinLeslie's Profile at Skywalker SoundCreditsGuest: Leslie Ann JonesHost: Matt BoudreauEngineer: Matt BoudreauProducer: Matt BoudreauEditing: Anne-Marie Pleau WCA Theme Music: Cliff Truesdell Announcer: Chuck Smith

My guest is a seven-time Grammy Award-winning Recording and Mixing Engineer, Record Producer, and Director of Music Recording and Scoring at Skywalker Sound, Leslie Ann Jones.  In this episode, we discuss Growing up in Beverly Hills Spike Jones PA Company ABC Studios Capital Studios Education Via Hi-Fi Mags Creating Cheat Sheets The Big Chair Danny Thomas's House Going to Rehearsals Playing with Cousins Doing Live Sound Self-Taught Path Contributing as an Engineer Tascam Half Inch 4-Track Sherwood Oaks Experimental College Enjoying a Challenge West LA Music Punching Above Your Weight The Automatt Fred Catero  The Bay Area First Digital Recording Tony Williams The Great American Music Hall Freelancing Staff Recording Jobs Synching Machines Phil Ramone ISDN Matt's Rant: Taking Things off Your Plate Links and Show Notes Leslie on Linkedin Leslie's Profile at Skywalker Sound Credits Guest: Leslie Ann Jones Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith

George Lucas is a visionary filmmaker and entrepreneur best known for creating the Star Wars and Indiana Jones franchises. Born on May 14, 1944, in Modesto, California, Lucas developed a passion for cars and racing in his early life. However, a near-fatal car accident shifted his focus to cinematography and photography. He attended Modesto Junior College and later transferred to the University of Southern California's School of Cinematic Arts. Lucas's career took off with the release of his film "American Graffiti" in 1973, but it was his next project, "Star Wars," that would change the landscape of filmmaking.Summary:George Lucas, the visionary filmmaker and entrepreneur, has had a monumental impact on film and culture. Born in Modesto, California, Lucas initially aspired to be a racing driver but shifted his focus to cinematography after a near-fatal car accident. He attended film school at the University of Southern California and became deeply interested in nontraditional filmmaking. Lucas's career took off with the release of "American Graffiti" in 1973, but it was his creation of "Star Wars" in 1977 that revolutionized the industry. The film's unprecedented success led to the creation of a global phenomenon and a franchise that has endured for decades. Lucas's innovative merchandising rights and ownership of sequels paved the way for new revenue streams and marketing possibilities. His impact on filmmaking extends beyond his directorial work, as he founded Lucasfilm, Industrial Light & Magic (ILM), and Skywalker Sound, which revolutionized special effects and audio effects in the industry. Lucas's philanthropic efforts and commitment to education have also left a lasting impact, with donations to education causes and the creation of the George Lucas Education Foundation and the Lucas Museum of Narrative Art.Key Takeaways:George Lucas revolutionized special effects and sound design in cinema through his companies Lucasfilm, Industrial Light & Magic (ILM), and Skywalker Sound.His creation of "Star Wars" and "Indiana Jones" became cultural cornerstones, influencing generations and contributing significantly to popular culture.Lucas pioneered the modern film merchandising and franchise model, reshaping the business side of filmmaking and creating new revenue streams.His philanthropic efforts, particularly in arts and education, have had a lasting impact on innovative education methods and creative fields.While Lucas's impact on film and culture is monumental, there are also aspects that have been subject to criticism and debate, such as over-commercialization and creative control issues.Support the showDo you want to be a guest on multiple podcasts as a service go to:www.podcastintroduction.comFind more details about the podcast and my coaching business on:www.absolutebusinessmindset.comDo you want to be a podcaster? Sign up onwww.abmpodcastcourse.co.ukFind me onLinkedIn - https://www.linkedin.com/in/mark-hayw...Facebook - https://www.facebook.com/markjhayward​

For this episode, number 88, I spoke with Mac Smith about the path he took to his career as Supervising Sound Editor and employee of Skywalker Sound, via marching bands, a chance meeting with Walter Murch, being propelled into the industry working for Robert Zemekis on Castaway. And so much more.Listen in for the full story.Thanks to the folks at Skywalker Sound for helping set this up.All the links!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

DO YOU LIKE STAR WARS? We welcome Supervising Sound Editor from Skywalker Sound, Mac Smith (veteran of Ponyo, Up, Tron Legacy, Avengers: Endgame, and Star Wars: Visions) to teach a clinic about how sound design works in movies. And to demonstrate it, Mac walks us thru the perfect showcase of Rian Johnson's Star Wars: Episode VIII - The Last Jedi! Experience Star Wars thru the ears of an expert and hear details you never noticed that subconsciously enhance the story. We were blown away and you will be too. Chapters Introduction (00:00:00) Hatch News (00:21:25) The Last Jedi Roundtable Discussion (00:24:07) Your Letters (02:04:54) Notes and Links Check out the BRAND NEW Escape Hatch Merch Drop! Our all new collection of swag is available now and every order includes a free Cameo style shoutout from Haitch or Jason. Browse our collection now. Join the Escape Hatch Discord Server! Hang out with Haitch, Jason, and other friends of the pod. Check out the invite here. Escape Hatch is a TAPEDECK Podcasts Jawn! Escape Hatch is a member of TAPEDECK Podcasts, alongside: 70mm (a podcast for film lovers), Bat & Spider (low rent horror and exploitation films), The Letterboxd Show (Official Podcast from Letterboxd), Cinenauts (exploring the Criterion Collection), Lost Light (Transformers, wrestling, and more), and Will Run For (obsessed with running). Check these pods out!. See the movies we've watched and are going to watch on Letterboxd Escape Hatch's Breaking Dune News Twitter list Rate and review the podcast to help others discover it, and let us know what you think of the show at letters@escapehatchpod.com or leave us a voicemail at +1-415-534-5211. Follow @escapehatchpod on Twitter and Instagram. Music by Scott Fritz and Who'z the Boss Music. Cover art by ctcher. Edited and produced by Haitch. Escape Hatch is a production of Haitch Industries.

Jim Morris is President of Pixar Animation Studios, where he oversees all of the company's productions and operations. Morris began working at Pixar in 2005. Films under his supervision include RATATOUILLE, UP, TOY STORY 3, CARS 2, BRAVE, MONSTERS UNIVERSITY, INSIDE OUT, THE GOOD DINOSAUR, FINDING DORY, CARS 3, COCO and INCREDIBLES 2. As a producer, Morris most recently made the live-action Disney feature JOHN CARTER with director Andrew Stanton. He also produced Pixar's WALL•E, which won the Academy Award® for Best Animated Feature. Morris was also awarded Producer of the Year in Animated Theatrical Motion Pictures from the Producers Guild of America, the AFI Award, the Golden Globe and the Visual Effects Society Best Animated Feature Award for WALL•E. Prior to joining Pixar, Morris held a range of key positions for 17 years in various divisions of Lucasfilm Ltd. He served as President of Lucas Digital Ltd., and managed its three divisions, Industrial Light & Magic (ILM), Skywalker Sound and Lucasfilm Animation. As ILM's General Manager for more than 13 years, he supervised a staff of over 1,400 artists and technicians, and guided the largest visual effects facility in the entertainment industry.   With Morris' oversight, ILM created the groundbreaking and Academy Award®-winning visual effects in JURASSIC PARK, DEATH BECOMES HER, TERMINATOR 2 and FORREST GUMP. Other notable projects completed under his management include MISSION IMPOSSIBLE, TWISTER, SAVING PRIVATE RYAN, STAR WARS: EPISODE I, STAR WARS: EPISODE II, THE PERFECT STORM, PEARL HARBOR, MINORITY REPORT, PIRATES OF THE CARIBBEAN, MASTER AND COMMANDER, and three films in the HARRY POTTER series. Morris joined ILM in 1987 as a Producer of visual effects for films and commercials. Among Morris' producing credits are James Cameron's THE ABYSS (which earned the Academy Award® for Best Achievement in Visual Effects), and Steven Spielberg's ALWAYS. Before joining ILM, Morris was Executive Producer at Arnold & Associates, where he oversaw the company's three offices and produced commercials for clients such as Atari, Chevron and Mattel. Prior to that, Morris was Executive Producer at One Pass, where he headed the commercial production division. He also served in the production departments at advertising agencies J. Walter Thompson, and Foote, Cone & Belding in San Francisco. Morris worked as a producer and director for PBS, and began his career as a cameraman and editor at NBC. Morris is the recipient of the Producers Guild Digital 50 Award, the Visual Effects Society Board of Directors Award and the Visual Effects Society Founders Award. He has also been named a VES Fellow. Morris served for many years as President of the San Francisco Film Commission, and is Founding Chair of the VES. He is a member of AMPAS, PGA, BAFTA, VES and ASIFA, and currently serves as a member of Motion Picture Academy's Finance Committee. Morris earned a Bachelor of Science degree in Film and a Master of Science degree in Television/Radio from the Newhouse School at Syracuse University. In this Podcast, Allan McKay interviews Pixar's President Jim Morris about his career both at ILM and Pixar; working with legendary Directors such as James Cameron, Steven Spielberg, Andrew Stanton and Robert Zemeckis; behind-the-scenes and Innovations of JURASSIC PARK and FORREST GUMP; the unpredictable magic of live action projects; how limitations inspire VFX inventions; and why “Problems aren't an impediment to the job. Solving problems IS the job.” For more show notes, visit www.allanmckay.com/419.

This time I have the pleasure of sharing my conversations with Skywalker Sound's Co-Supervising Sound Editor Matthew Wood, Sound Designer David W Collins and Re-recording Mixer Danielle Dupre.I spoke with Matthew and David together and then separately with Danielle.Matthew and David are Emmy nominated for Mandalorian Chapter 24, Matthew his also nominated for his work on Obi Wan Kenobi Part VI (6)Danielle has also been nominated for her work on Obi Wan Kenobo part 6.So first of all you'll hear my conversation with Matthew Wood and David W Collins then after the ads you'll hear my conversation with Danielle.I hope you enjoy it.LinksReturn of the Jedi Timeline Book - Register your interest!Etsy Shop - Buy your Jabba print hereFilmumentaries MerchSupport the Podcast on PatreonLinktreeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

Minute One Hundred Forty Two: From The Rest of the Visual Effects Thank You List to The Start of the Logos.The TruStory FM Entertainment Podcast Network's own Justin Jaeger joins us in this episode!In the one-hundred-forty-second minute of The Avengers...We continue our journey through the credits. We get all 214 people who worked on the stereoscopic conversion for this film, which leads to a fun conversation about going to 3D movies. We talk a bit about the main title and the iconic Avengers logo. There's also 20 people credited as helping with the celebration montage, which is cool. We talk about Alan Silvestri, about the four songs in the film, including one we completely missed when Tony and Pepper are first in Stark Tower. We talk a bit about the non-endorsement by NASA at the end, and we each pick one person to talk about. JJ picks Depth Lead Katherine Rodtsbrooks (now Katherine Renee Jones) who was involved in the 3D conversion. Pete picks Craig Kyle, a comic book artist and executive producer given special thanks. Andy picks Steve Boeddecker, a sound designer at Skywalker Sound. Lots of great conversation! Tune in!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesFind JJ at TruStory FMWatch this film: iTunes • Amazon • YouTube • Disney+Join the conversation on DiscordScriptTrailer #1Trailer #2Poster artworkOriginal MaterialSeason 6 Show Art by Winston Yabo. Find him on InstagramSeason 6 Music: “Message to the World” by Anthony Vega. Find him on Instagram(00:00) - Marvel Movie Minute • Season 6 • The AvengersThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5556848/advertisement

Scott Ross (born November 20, 1951) is an American digital media executive with a career spanning three decades. In the 1980s he led George Lucas' companies and in 1993 he founded, along with James Cameron and Stan Winston, Digital Domain, Inc., In the 1980s Ross was general manager of Lucasfilm's Industrial Light and Magic (ILM) and under his leadership, ILM won five Academy Awards for Best Visual Effects (Who Framed Roger Rabbit, Innerspace, Terminator 2: Judgment Day, The Abyss, Death Becomes Her). The company re-organized in 1991 and Ross was named senior vice president of the LucasArts Entertainment Company, which comprised Skywalker Sound, LucasArts Commercial Productions, LucasArts Attractions, EditDroid/SoundDroid and ILM. Under Ross' direction, from 1993 to 2006, Digital Domain garnered two Academy Awards and three nominations, receiving its first Oscar in 1997 for the ground-breaking visual effects in Titanic. That was followed by a second Oscar for What Dreams May Come. Digital Domain received additional nominations for True Lies, Apollo 13 and I, Robot and won three Scientific and Technical Academy Awards for its proprietary software. Today, Dr. Ross sits on several boards, consults with international companies and lectures on Virtual Reality, Augmented Reality and was one of the early adopters of Mixed Reality technologies. Dr. Ross was an early advisor to Magic Leap (an AR hardware and software startup that eventually raised over $2B), is a board member to Eyellusion (one of the world's leading hologram company which brings back deceased rock stars) and was a founding partner, along with Brett Leonard, the director of LAWNMOWER MAN in VR production company, Virtuosity. Dr. Ross has presented keynote speeches addressing new technologies such as AR/VR to SIGGRAPH in Shenzhen, BOAO in Hong Kong as well as to the Beijing Film Academy. --- Support this podcast: https://podcasters.spotify.com/pod/show/amuse/support

Voice actor and sound designer, David W. Collins, takes us on a nostalgic journey to his roots in Vacaville, CA. David reveals how his passion for storytelling and sound design began to blossom during his formative years in this charming Californian town, eventually leading him to work on many Star Wars productions for LucasFilm and Skywalker Sound. We discover the local influences and experiences that shaped his career, from community theater productions to jamming with his high school band in his mom's garage. Additionally, David hosts his own podcast, The Soundtrack Show, which is "a weekly look at film scores and soundtracks for some of the most popular movies, TV shows, video games and theater pieces of all time."Destination Vacaville? Let's go! 

This week we are thrilled to welcome back to Blast Points, Skywalker Sound's David W. Collins! Since we last talked a couple of years ago, David was nominated for an Emmy for his sound work on The Book of Boba Fett, led the way with Tales of the Jedi and The Bad Batch season 2 and was the sound designer for that little thing called The Mandalorian season 3. Join us as we go over all of that and more as we explore what went into creating sounds for so much of the recent stuff we've loved. What's the secret sound in Gorian Shard's voice, what was the inspiration for Gideon's mech suit and where can you hear the sound of Jon Favreau's dog? So, listen today & celebrate the love! check out The Soundtrack Show here : https://www.iheart.com/podcast/105-the-soundtrack-show-29021108/ JOIN THE BLAST POINTS ARMY and SUPPORT BLAST POINTS ON PATREON! MANDALORIAN SEASON 3 COMMENTARIES HAPPENING NOW! KENOBI COMMENTARIES! BOOK OF BOOK REVIEW EPISODES! MANDO SEASON 1 & 2 REVIEW EPISODES! BAD BATCH! CLONE WARS ! BLAST POINTS Q&A EPISODES! ! Theme Music downloadable tracks! Extra goodies! and so much MORE! www.patreon.com/blastpoints SUBSCRIBE ON YOUTUBE TO SEE ALL THE CELEBRATION LONDON SUPER LIVE FROM HOME MADNESS : www.youtube.com/@blastpointspodcast2160/featured new Blast Points T-SHIRTS are now available! Represent your favorite podcast everywhere you go! Get logo shirts and classics like the Ben Burtt and Indiana shirt while supplies last! Perfect for conventions, dates, formal events and more! Get them here: www.etsy.com/shop/Gibnerd?section_id=21195481 if you dug the show, please leave BLAST POINTS a review on iTunes, Spotify and share the show with friends! If you leave an iTunes review, we will read it on a future episode! honestly! talk to Blast Points on twitter at @blast_points leave feedback, comments or ideas for shows! "like" Blast Points on Facebook for news on upcoming shows and links to some of the stuff we talk about in the show!! Join the Blast Points Super Star Wars Chill Group here www.facebook.com/groups/BlastPointsGroup/ we are also on Instagram! Wow! www.instagram.com/blastpoints your hosts are Jason Gibner & Gabe Bott! contact BLAST POINTS at : contact@blastpointspodcast.com send show ideas, feedback, voice messages or whatever! May the Force be with you, always!

Chrysanthe covers minutes 121-125, answers listener questions, and shares their 30 takeaways, trends, surprises, and highlights from The Empire Strikes Back season of Star Wars Music Minute. This is part 1 of a 2-part season finale!

A long time ago, in a galaxy far, far away… Take some time this week to remember your original happy hour: Saturday mornings as a kid, waking up at dawn, jumping on the couch with a bowl of chocolate cereal, turning on the ‘toons, tuning out the outside world, and working your way into a sugar hangover before noon. This week, we celebrate May the Fourth Be With You and the sweet sounds of Star Wars with two GIANT guests, Supervising Sound Editor at Skywalker Sound and actor MatthewWood (Star Wars Episode I: The Phantom Menace, The Book of Boba Fett) and composer JosephShirley (CreedIII, TheMandalorian) Landing the apprenticeship of his dreams with sound effects legend and Oscar winner Ben Burt, MatthewWood took to sound editing like a Mon Calamari to water. And, like the snap hiss of a lightsaber or the twangy ripple of an Imperial blaster Matthew hyper-jumped to Star Wars royalty with sound supervisor credits that include a ton of Star Wars AND some quality character work as the voice of “General Grievous” and the modern physical embodiment of our favorite majordomo, “Bib Fortuna” among many more. And if that isn't enough to milk your moof, we sat down with composer JosephShirley at WonderCon2023 to talk about landing his Star Wars dream job and scoring, what we declare, as the greatest Star Wars scene of the Disney era. You don't want to miss this! Join Grim Shea, Jimmy The Gent and Marke as we beep, boop, pew, pew and Wilhelm scream the heck out of this May the 4th! MTFBWY!

“Top Gun: Maverick” is filled with booming jet engines and layered sonic storytelling. Since this publication, it won the award for Best Sound at the Oscars, largely due to the work of Al Nelson, sound designer and supervising sound editor at Skywalker Sound. Hear how he and his team spent time on aircraft carriers to capture the film's iconic sounds. Al Nelson may be known affectionately by some as the “dinosaurs and jets” guy for his work on “Jurassic World” and “Top Gun: Maverick,” but his 27-year body of work has touched all genres, including films like “Knives Out,” “Toy Story 2,” “20 Feet From Stardom,” “How to Train Your Dragon” and more. We visit Al Nelson at George Lucas' Skywalker Ranch to hear how he makes his art. Nelson discusses the influence of past sound designers on his creative process and the journey he has taken climbing the ranks at Skywalker Sound. He gives insight into the meticulous choices that are made in the edit room, choices that play a critical role in the storytelling process.

Today's episode is an amazing roundtable with the some of the incredible sound team behind OBI-WAN KENOBI: Bonnie Wild, Julian Howarth, and Danielle Dupre. This crew has been nominated for the Cinema Audio Society award for OUTSTANDING ACHIEVEMENT IN SOUND MIXING, and it is so incredibly well-deserved. I hope you enjoy this wonderful look into the process of bringing the sounds of Star Wars to life. Thank you to Ian and Skywalker Sound for the coordination and help with this interview. Absolutely fantastic. More episodes coming very soon, including next week's episode with Brendan Wayne, as well as with Leilani Shiu. If you are attending Celebration London, we'll be hosting a panel (!!) on the Holonet stage, so definitely make it a point to come and say hi If you're enjoying the show, please head to Apple Podcasts or wherever you listen to these episodes and leave us a five-star rating and review! It means the world. Transcripts of previous episodes are available over at talkingbay94.com. For more behind-the-scenes stuff, as well as a link to some of our other in-depth interviews, check out: Website: www.TalkingBay94.com Twitter: www.twitter.com/TalkingBay94 Instagram: www.instagram.com/TalkingBay94

Ellen E Jones and Mark Kermode revisit Titanic in its 25th anniversary year, looking at James Cameron's epic blockbuster as both a disaster film and a story of immigration. Ellen explores the forgotten tales of immigration onboard the Titanic, talking to journalist Ray Hanania about the Syrian refugee stories only hinted at in the 1997 film. She also speaks to Sally El-Hosaini, director of new Netflix film The Swimmers. They discuss how immigration is depicted on screen and how Sally wanted to portray immigration in her own work. Inspired by the grand spectacle and ground breaking special effects of Titanic, Mark talks about disaster films with theme park ride designer Peter Alexander and legendary sound designer Randy Thom from Skywalker Sound. They discuss the 1974 film Earthquake, the theme park ride it inspired and the innovative Sensurround sound system created for the movie. This week's Viewing Note is courtesy of Joanna Hogg, director of The Souvenir and the new A24 film, The Eternal Daughter, and disaster movie fan. Producer: Freya Hellier A Prospect Street production for BBC Radio 4

Join James Burns on episode 91 of RADIO 1138 where we had the opportunity to talk some of the creatives behind the first ten episodes of the Disney+ Andor series. First up was Production Designer Luke Hull and Costume Designer Michael Wilkinson with fellow Star Wars podcasts in this order -- Around the Galaxy, Triad of the Force, That Gay Jedi, Star Wars Explained, Skywalking Through Neverland, Talking Bay 94, Jedi News, Fantha Tracks, and Ahch-To Radio. Our second, and final, roundtable was with Vice President of Visual Effects at Lucasfilm TJ Falls & Supervising Sound Editor David Acord, and taking part in this order was --Tatooine Sons, Talking Bay 94, Skytalkers, Jedi News, Fantha Tracks, Blast Points, and Around the Galaxy. Four of us got to ask another question -- Tatooine Sons, Talking Bay 94, Skytalkers, and Jedi News. Thanks to everyone at Lucasfilm, ILM and Skywalker Sound for making these roundtables happen, and thanks to our fellow podcasters too (in alphabetical order) -- Ahch-To Radio, Around the Galaxy, Blast Points, Fantha Tracks,  Star Wars Explained, Skytalkers, Skywalking Through Neverland, Talking Bay 94, Tatooine Sons, That Gay Jedi, and Triad of the Force.

When E.T. walked across the screen and into the hearts of moviegoers everywhere, that lovable space alien who wanted to “phone home” needed a sound for its walk. Foley artists, the sound magicians who add special effects to movies, decided to use a bag of jello in a damp T-shirt. Indeed, a Foley artist is nothing but ingenious. Snappers, clackers, ka-chunkers, sha-shonkers and things that go “ronk” are just a few things you might find in their toolbox, along with celery — good for broken bones — or paperclips on gloves to imitate a cat walking down the hall. We'll learn about these tricks of the trade from some of the world's best Foley artists at Skywalker Sound in Marin. Guests: Anna Wiener, contributing writer, The New Yorker - She is the author of the memoir "Uncanny Valley." Her most recent piece for the New Yorker is titled "Noisemakers." Shelley Roden, Foley artist, Skywalker Sound - Roden has worked as a Foley artist for over 25 years, and has worked on "Black Panther," "Top Gun: Maverick," "Soul," "Turning Red," and hundreds of other films. Scott Curtis, Foley Mixer, Curtis has mixed sound for a variety of movies including "Titanic," "Team America" and "Black Panther."

My guest is Leff Lefferts making a return to WCA after his first appearance on WCA #101. Leff comes from a music recording background but has worked in film sound for the last 16 years at Skywalker Sound. He's worked as a Sound Effects Editor, Sound Editor, Supervising Sound Editor, Sound Designer, and Re-Recording Mixer on various movies, including, The Croods: A New Age, The Revenant, The Peanuts Movie, How to Train Your Dragon 2, and many more.  In this episode, we discuss: Randy Thom Skywalker Sound ATMOS Telling Stories Roles in Film Sound Technology Changes  Content on Streaming Services Planning Your Life Music Industry vs Film Industry Watching the Credits Making Records for Enjoyment Financial Security UA Plugins Early Days of Pro Tools Bay Area Pro Audio Lore Matt's Rant: Being Proactive Links and Show Notes Leff on WCA #101 Leff's Email Leff on IMDB WCA on Instagram Matt on Instagram  Connect with Matt on Linkedin Current sponsors & promos Credits Guest: Leff Lefferts Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith

My guest is Leff Lefferts making a return to WCA after his first appearance on WCA #101. Leff comes from a music recording background but has worked in film sound for the last 16 years at Skywalker Sound. He's worked as a Sound Effects Editor, Sound Editor, Supervising Sound Editor, Sound Designer, and Re-Recording Mixer on various movies, including, The Croods: A New Age, The Revenant, The Peanuts Movie, How to Train Your Dragon 2, and many more. In this episode, we discuss:Randy ThomSkywalker SoundATMOSTelling StoriesRoles in Film SoundTechnology Changes Content on Streaming ServicesPlanning Your LifeMusic Industry vs Film IndustryWatching the CreditsMaking Records for EnjoymentFinancial SecurityUA PluginsEarly Days of Pro ToolsBay Area Pro Audio LoreMatt's Rant: Being ProactiveLinks and Show NotesLeff on WCA #101Leff's EmailLeff on IMDBDownload 15 Tips to Help you Survive as an Audio ProCreditsGuest: Leff LeffertsHost: Matt BoudreauEngineer: Matt BoudreauProducer: Matt BoudreauEditing: Anne-Marie Pleau WCA Theme Music: Cliff Truesdell Announcer: Chuck Smith

In our latest "What to Watch Now" episode, we're checking out the Skywalker Sound mini-documentary from Apple released on Star Wars Day. And there's a new candidate to replace the Wilhelm scream as a sound Easter egg... Punch it! ***I'm listener supported! Join the community at http://Patreon.com/sw7x7 to get access to bonus episodes and other insider rewards.***