• Dolby Institute Podcast Series

    • Conversations with Sound Artists: Season 1

      In each episode, the artist talks with the Dolby Institute's Glenn Kiser and SoundWorks Collection's Michael Coleman about the challenges and opportunities the artist faced while building the soundscapes you enjoy.


        About the Artists and Their Podcasts

        Randy Thom - Dolby Institute PodcastsEpisode 1—Randy Thom: Writing for Sound

        Randy Thom, director of sound design at Skywalker Sound, discusses how writers and directors can use sound as a tool to tell their stories, the importance of Apocalypse Now to modern sound design, his work with director Robert Zemeckis on Cast Away, and more.

        Naughty Dog StudiosEpisode 2—Rob Krekel and Phillip Kovats of Naughty Dog Studios: Video Game Sound Design

        Game soundtracks are no longer about the beeps and bloops of our childhood past. Explore sound design from Rob Krekel and Phillip Kovats of Naughty Dog Studios, one of the most advanced video game production houses in the world. Playing video games isn't just about what you see on the screen, it's about what you hear around you—and in the surrounds.


        Coll AndersonEpisode 3—Coll Anderson: Creative Sound for Documentaries

        Creative sound design is important in documentaries, even though it's rarely the first thing that audiences think about. Sound designer/mixer Coll Anderson discusses the role that creative postproduction sound can serve in telling nonnarrative stories.

        Anna BehlmerEpisode 4—Anna Behlmer: The Art of Sound Mixing

        Ten-time Academy Award® nominee Anna Behlmer talks about being one of the first female mixers in the movie business, strategies for handling a nervous director, and why you will always find colored Sharpie pens on a mixing stage.

        Gwen Yates WhittleEpisode 5—Gwen Yates Whittle: Dialogue Editing and Automatic Dialogue Replacement (ADR)

        In this episode, two-time Academy Award nominee Gwen Yates Whittle talks with Glenn Kiser about why director George Lucas thinks dialogue editing is one of the most important parts of the process.

        Dan ColmanEpisode 6—Daniel Colman: Sound for Television

        In discussing his work on Battlestar Galactica and Marvel's Agents of S.H.I.E.L.D., Emmy® award-winning sound designer Daniel Colman talks about why musicians make the best sound designers and the challenges of living within the rules of television’s dynamic range.

        Learn more about this SoundWorks podcast series.

      • Dolby Oscars Gutter Image

        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • Conversations with Sound Artists: Season 2

      Season 2 of our podcast collection focuses on storytelling with sound. We speak with leading artists who create sound design for Broadway shows, virtual reality, and installation art pieces.

      • About the Artists and Their Podcasts

        Walter MurchEpisode 8—Walter Murch: Cinema Sound Design and Film Editing (Part 2)

        Much like The Godfather, our talk with Walter Murch was simply too epic to be contained in one podcast. In part two of our conversation, fellow sound designers Randy Thom and Chris Foster pose questions to Walter, we discuss the state of cinema sound before and after Apocalypse Now, why film school can be a good idea, and how you can underline a character’s emotional state with carefully chosen sound effects.

        Episode 7—Walter Murch: Cinema Sound Design and Film Editing (Part 1)

        Three-time Academy Award-winner Walter Murch joins the “Conversations with Sound Artists” podcast. In part one of our talk, Walter takes questions from other leading sound designers Ren Klyce and Gary Rydstrom about his work, talks about how documentary film has affected modern cinema style, discusses his work in Apocalypse Now and The Conversation, and ends the episode with a discussion of the use of music in The Godfather and The English Patient.

      • Dolby Oscars Gutter Image

        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • I subscribe to Pablo Picasso’s dictum, ‘Art is a lie that tells the truth.’

      Walter Murch

      • Ryan CooglerEpisode 6—Ryan Coogler: The sound and music of Creed and Fruitvale Station

        In this special podcast presentation of our recent Dolby Institute master class at the Los Angeles Film Festival, writer/director Ryan Coogler is joined by his composer Ludwig Göransson and sound designer Steve Boeddeker to present clips and discuss their use of sound and music in Creed and Fruitvale Station.

        Jad AbumradEpisode 5—Jad Abumrad: The Sound of Radiolab

        Radiolab is one of the most distinctive sounding shows in the radio and podcast world. In this episode, the creator and co-host of the show, Jad Abumrad, talks about how he uses music as a metaphor to explore abstract topics like what a manta shrimp sees when it looks at a rainbow, why it's important to drop into the story midstream, why he deliberately disrespects the boundary between sound effects and music, and how he aspires to tell complex stories without words.

      • John RoeschEpisode 4—John Roesch: The Art of Foley

        Legendary Foley artist John Roesch discusses his more than 30-year career performing sounds for films including E.T., Back to the Future, The Dark Knight, The Girl with the Dragon Tattoo, and Inception; the challenge of performing Foley for rainy scenes; why Foley can't come from an effects library; and how you walk steps for a Transformer.

        Sophie ClementsEpisode 3—Sophie Clements: Sound and Visual Art

        Visual artist Sophie Clements joins her longtime sound design/music collaborator Jo Wills to discuss their site-specific piece Attempting to Delay the Inevitable, an installation at the Dolby Gallery; the role of sound in her visual art pieces; why computer-graphics images would never work in her art; and how sound and image collaborate to create wonder, awe, and seduction in the audience. We're joined for this conversation by Kevin Byrd, Head of Visual Experiences at Dolby. 

        Sophie Clements Dolby Installation Details
        Sophie Clements Dolby Gallery Event
        Kevin Byrd Art Installation Details



        Tim GedemerEpisode 2—Tim Gedemer: Sound for VR

        Tim Gedemer, one of the most experienced artists working in sound for virtual reality with collaborations with studios including Jaunt, Specular Theory, and others, joins us to discuss the current state of sound for VR. We discuss the crazy first days of full spatial audio for the initial wave of VR projects, and why traditional filmmakers tend to stumble in their first VR experiences. Tim also provides a step-by-step discussion of how sound for VR works, from production capture through to the frustration of having to take off the headset so you can see the mixing console. He also discusses some of his most successful collaborations, and the differences between audio for cinematic, game-based, and live VR experiences.

        Nevin SteinbergEpisode 1—Nevin Steinberg: The Sound of Hamilton

        Leading Broadway sound designer Nevin Steinberg discusses his work on hit shows including Hamilton, Bright Star, The Full Monty, and Spamalot. He tells us why he doesn't listen to the cast albums of his shows, the trials of redesigning theatre sound for touring companies, coming trends in Broadway sound design, and his experiences working with such legendary artists as Lin-Manuel Miranda, Mike Nichols, Steve Martin, and Edie Brickell.

    • Conversations with Sound Artists: Season 3

      In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music. Conversations include Edgar Wright & Julian Slater; Darren Aronofsky & Craig Henighan; Matt Reeves with Michael Giacchino, Will Files, & Douglas Murray; Joe Wright & Craig Berkey; and others…


        About the Artists and Their Podcasts

        Edgar Wright and Julian Slater Episode 1 — Director Edgar Wright & Sound supervisor Julian Slater

        Writer/director Edgar Wright joins sound designer Julian Slater in conversation about their remarkable five film collaboration, starting with Shawn of the Dead and continuing through their most recent film, Baby Driver. In this episode you’ll learn why Wright records sound on location scouts, dissect the sonic components of the infamous “Tequila” shoot-out scene from Baby Driver, and hear why Julian Slater feels Dolby Atmos was designed for the film.


        Richard King Episode 2 — Sound supervisor Richard King talks about his collaboration with director Christopher Nolan

        Three-time Academy Award winning sound supervisor Richard King discusses his remarkable collaboration with the director Christopher Nolan, which began with The Prestige and has continued through this summer’s Dunkirk. Richard talks about creating the sirens of the German dive-bomber planes, and addresses some of the controversies of Nolan’s mixes. He also touches on working with other directors including Paul Thomas Anderson, Sam Shepard, and Nicolas Roeg. Richard also answers questions from other sound designers.


        Darren Aronofsky and Craig Henighan Episode 3 — Director Darren Aronofsky & Sound supervisor Craig Henighan

        Darren Aronofsky is one of the most innovative and boundary-pushing directors working in cinema. Join him in conversation with his longtime sound supervisor Craig Henighan as they discuss their work on Requiem for a Dream, The Fountain, Black Swan, Noah, and mother! In this episode Aronofsky talks about how mother! ended up without a musical score, creating the character of the house, and how each element of the track is deliberately crafted.


        Joe Wright and Craig Berkey Episode 4 — Director Joe Wright & Sound supervisor Craig Berkey

        Director Joe Wright and his sound supervisor Craig Berkey talk about using sound design to build worlds as diverse as Churchill’s World War II London in Darkest Hour, the synesthezia of a homeless schizophrenic in The Soloist, or a fantastic Neverland in Pan. Wright and Berkey explore why recording Foley in the real Churchill war rooms was important, how working in the London rave scene after college influenced Wright’s use of sound, and why having the score to play for the actors on set is important.


        Matt Michael Will Douglas Episode 5 — Director Matt Reeves, Composer Michael Giacchino, Sound supervisor Will Files, and Sound supervisor Douglas Murray

        Director Matt Reeves joins sound supervisors Will Files & Douglas Murray, and composer Michael Giacchino in conversation about their four-film collaboration, starting with Cloverfield and culminating with this summer’s War for the Planet of the Apes. The artists discuss the unique challenges of utilizing the vocalizations of the human actors for the apes, how the trailer for Cloverfield drove the movie and the challenge of making a scary monster movie with no musical score, and why Michael Giacchino originally did not want to write the score for Let Me In.


        Carter and Skip Episode 6 — Composer Carter Burwell and Sound supervisor Skip Lievsay talk about working with the Coen brothers

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

      • Dolby Oscars Gutter Image

        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • Conversations with Sound Artists: 2016 Oscar Edition

      Sound is an art and a craft that many people appreciate but that few know much about. In these podcasts with recent Oscar nominees and winners, sound designers take an in-depth look at different aspects of the sound process.

      • In this special series of podcasts, Dolby Institute director Glenn Kiser shines a spotlight on some of this year's nominees for the Academy Award® for Best Sound Editing. Hear the teams behind Mad Max: Fury Road, The Revenant, and Sicario talk about the creation of the sound design for the films, their collaboration with the music department and rerecording mixers, and the challenges of managing the logistics and aesthetics of their films.


        About the Nominated Artists and Their Podcasts

        Alan Murray - Dolby Institute PodcastsThe Sound of Sicario with Alan Murray

        Alan Murray, two-time Academy Award winner nominated this year for Sicario, discusses using sound to tell the audience that things may not be quite right, how low-end can heighten tension, and his remarkable 40-year collaboration with Clint Eastwood.

        Mark Mangini and David White - Dolby Institute PodcastsThe Sound of Mad Max: Fury Road with Mark Mangini and David White

        Mark Mangini and David White, nominated this year for Mad Max: Fury Road, talk about the challenges of managing such an epic production, how they used ADR to achieve emotional intimacy, the use of silence in chaos, and how director George Miller (who trained as a doctor) can cure common maladies.

        Lon Bender and Martin Hernandez - Dolby Institute PodcastsThe Sound of The Revenant with Lon Bender and Martin Hernandez

        In this two-part podcast, we catch up with Academy Award nominees Lon Bender and Martín Hernández to discuss their BAFTA-winning work on The Revenant. Bender talks about recording Foley in Colorado on real snow (with horses!) and gives advice to young sound artists. Hernández talks about managing directors' anxiety and describes getting his start doing radio shows with director Alejandro Iñárritu in Mexico when they were college classmates.

      • Dolby Oscars Gutter Image

        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • Conversations with Sound Artists: 2017 Oscar Edition

      The Dolby Institute and the SoundWorks Collection have collaborated to produce a series of podcast conversations with the artists nominated for Academy Awards for Best Achievement in Sound Editing and Best Achievement in Sound Mixing


        About the Nominated Artists and Their Podcasts

        ArrivalThe Sound of Arrival with Sylvain Bellemare and Bernard Gariépy Strobl

        Sylvain Bellemare (Best Sound Editing) and Bernard Gariépy Strobl (Best Sound Mixing) discuss the unique challenges of building the soundscapes of the alien heptapods and managing their multinational crew working in Paris, Montréal, Los Angeles, and New Zealand. Adhering to director Denis Villeneuve’s mandate to keep everything real and organic, the sound artists describe using no electronics in generating the film’s sounds and how the sound design interweaves seamlessly with the haunting score by Jóhann Jóhannsson.


        Deepwater HorizonThe Sound of Deepwater Horizon with Renée Tondelli

        Renée Tondelli (Best Sound Editing) joins us for an in-depth exploration of the sound design of Peter Berg’s film, for which she is nominated with Wylie Stateman. From the challenges of learning to speak “oilese,” the specialized language of the oil exploration world, to the problems of capturing usable production audio at the film’s noisy locations, Renée discusses how the sound for this action-packed film, mixed by Ron Bartlett and Doug Hemphill, came together.

        Hacksaw RidgeThe Sound of Hacksaw Ridge with Kevin O’Connell, Robert Mackenzie, and Andy Wright

        Kevin O’Connell (Best Sound Mixing), celebrating his 21st Academy Award nomination, joins first-time nominees Robert Mackenzie and Andy Wright (double nominees for Best Sound Editing and Best Sound Mixing) in conversation about their work on Mel Gibson’s film. The artists talk about using sound design and music to sculpt the three different battle sequences that comprise the film’s second half, the challenges of using period-accurate weaponry, and how the sound of breathing can take you inside the main character’s experience.




        La La LandThe Sound of La La Land with Steve Morrow, Ai-Ling Lee, and Mildred Iatrou

        In Part 1 of this episode, Steve Morrow (Best Sound Mixing) describes his work as the production sound mixer on this contemporary movie musical filmed largely on location in Los Angeles and the challenges of capturing the live on-set singing of stars Ryan Gosling and Emma Stone. In Part 2, Ai-Ling Lee (nominated for Best Sound Editing and Best Sound Mixing) and Mildred Iatrou (Best Sound Editing) discuss weaving the sung performances into a magical musical design soundscape


        Alan Murray - Dolby Institute PodcastsThe Sound of Sully with Alan Murray

        Two-time Academy Award® winner Alan Murray (Best Sound Editing) joins us to discuss his 37th film in collaboration with director Clint Eastwood, for which he has received his ninth Oscar nomination. From his first conversation with Captain Chesley Sullenberger to an eventful sound recording trip on an empty A320 in flight, Alan recounts the lengths to which his team went to make sure they kept realism in the sound track of the famous “Miracle on the Hudson.”

        13 Hours: The Secret Soldiers of BenghaziThe Sound of 13 Hours: The Secret Soldiers of Benghazi with Greg Russell, Gary Summers, Jeffrey Haboush

        Greg Russell (17 Oscar nominations), Gary Summers (11 Oscar nominations and 4 wins), and Jeffrey Haboush (4 Oscar nominations) talk about their work, nominated for Best Sound Mixing, on Michael Bay’s film. The artists describe their long collaboration with Bay and their work on this film to keep the tension high through the film’s chaotic scenes of battle.

      • Dolby Oscars Gutter Image

        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.