Denis Villeneuve

First of all, yeah, I try to think about the sound and the structure of the sound design as much as possible in the screenplay. And I know as I'm writing that I will need music there, there. I will create a sequence, a musical sequence more. It's something that is embedded in the DNA of the screenplay.

But then when we edit the film, there's like, I'm working with an editor, Joe Walker, who is a master that Joe is coming from, was a... studied as a composer. He was a composer first, then he did sound at the BBC as a sound editor. So where I'm going is that sound, what I love, and one of the reasons I started to work with Joey, we made many movies together, is that for him,

But then when we edit the film, there's like, I'm working with an editor, Joe Walker, who is a master that Joe is coming from, was a... studied as a composer. He was a composer first, then he did sound at the BBC as a sound editor. So where I'm going is that sound, what I love, and one of the reasons I started to work with Joey, we made many movies together, is that for him,

But then when we edit the film, there's like, I'm working with an editor, Joe Walker, who is a master that Joe is coming from, was a... studied as a composer. He was a composer first, then he did sound at the BBC as a sound editor. So where I'm going is that sound, what I love, and one of the reasons I started to work with Joey, we made many movies together, is that for him,

sound is as important as the image. And it's something that when I was making indie movies, I felt that the sound was coming at the end of the process and with very little time. And I was always kind of disappointed not having the proper time to make a real embedded sound design. And so now I try to bring the sound as early as possible.

sound is as important as the image. And it's something that when I was making indie movies, I felt that the sound was coming at the end of the process and with very little time. And I was always kind of disappointed not having the proper time to make a real embedded sound design. And so now I try to bring the sound as early as possible.

sound is as important as the image. And it's something that when I was making indie movies, I felt that the sound was coming at the end of the process and with very little time. And I was always kind of disappointed not having the proper time to make a real embedded sound design. And so now I try to bring the sound as early as possible.

So it's like, as I'm shooting, we have a sound designer that starts to create, specifically with Syfy, to create sounds that will be fed to the editing room very early on. So these sounds are timed to... live with them and make sure that they will enter the test of time and get used to them and make sure that they are right through time. It's not just flashes that are last minute flashes.

So it's like, as I'm shooting, we have a sound designer that starts to create, specifically with Syfy, to create sounds that will be fed to the editing room very early on. So these sounds are timed to... live with them and make sure that they will enter the test of time and get used to them and make sure that they are right through time. It's not just flashes that are last minute flashes.

So it's like, as I'm shooting, we have a sound designer that starts to create, specifically with Syfy, to create sounds that will be fed to the editing room very early on. So these sounds are timed to... live with them and make sure that they will enter the test of time and get used to them and make sure that they are right through time. It's not just flashes that are last minute flashes.

And it gives, of course, more time to explore, experiment. And so the sound is something that is, again, as important as the image. And with Johan Johansson and Hans Zimmer,

And it gives, of course, more time to explore, experiment. And so the sound is something that is, again, as important as the image. And with Johan Johansson and Hans Zimmer,

And it gives, of course, more time to explore, experiment. And so the sound is something that is, again, as important as the image. And with Johan Johansson and Hans Zimmer,

both composers were flirting close to the sound design sometimes and meaning that the music sometimes there's like a dance that I installed between the designers and the composer that they will flirt and cross sometimes the border of one of each other and for that it needs communication.

both composers were flirting close to the sound design sometimes and meaning that the music sometimes there's like a dance that I installed between the designers and the composer that they will flirt and cross sometimes the border of one of each other and for that it needs communication.

both composers were flirting close to the sound design sometimes and meaning that the music sometimes there's like a dance that I installed between the designers and the composer that they will flirt and cross sometimes the border of one of each other and for that it needs communication.

Yeah, but I will say that it depends on the sequence. Sometimes I say to the team, here it's Hans. Hans Zimmer is not known to be subtle. When he invades the soundtrack, it means there's no... So there are some moments where we say, okay, that's the area. I said, here it's going to be, we go full on. It's trying to find the right balance between what the scene needs. It's the movie that guides me.

Yeah, but I will say that it depends on the sequence. Sometimes I say to the team, here it's Hans. Hans Zimmer is not known to be subtle. When he invades the soundtrack, it means there's no... So there are some moments where we say, okay, that's the area. I said, here it's going to be, we go full on. It's trying to find the right balance between what the scene needs. It's the movie that guides me.

Yeah, but I will say that it depends on the sequence. Sometimes I say to the team, here it's Hans. Hans Zimmer is not known to be subtle. When he invades the soundtrack, it means there's no... So there are some moments where we say, okay, that's the area. I said, here it's going to be, we go full on. It's trying to find the right balance between what the scene needs. It's the movie that guides me.

It's so visceral. I've been very interested by the border between the United States and Mexico. I thought it was very meaningful... about our reality, it was very... I was looking for, I was reading about it, I was looking for a project that will be, for a story, something that will allow me to explore that zone.