“While I was creating sounds, Johann was writing, and as we got deeper and deeper into the film - without being too arty or too weird about it - the film started telling us, especially Darren and his editor Andy Weisblum, what it needed,” said Henighan in an interview with IndieWire. ![]() In October and November of last year, Henighan and Jóhannsson were already starting to broadly sketch out the film’s soundscape and by January were starting to supply Aronofsky and his editor Andrew Weisblum with early versions they could experiment with as they cut. ![]() ![]() According to Aronofsky’s longtime sound designer Craig Henighan, the collaboration with the director on both music and sound design starts before production.
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