Oscar-nominee Ben Wilkins
discusses Whiplash’s audio mix, edit
This freshly minted BAFTA winner walks us
through his process
By Randi Altman
When I first spoke with Ben Wilkins, he was freshly back from the Oscar-nominee luncheon in Hollywood and about to head to his native England to attend the BAFTAs. Wilkins was nominated by both academies for his post sound work on Sony Picture Classics’
Whiplash, the Damien Chazelle-directed film about an aspiring jazz drummer and his brutal instructor.
Wilkins (@tonkasound) didn’t return to LA empty handed — he, along with fellow sound re-recording mixer/co-supervising sound editor Craig Mann, and production sound mixer Thomas Curley, brought home the BAFTA in the Sound category.
As their titles imply, Wilkins and Mann, both based out of Technicolor Sound on the Paramount lot in Hollywood, had dual roles on
Whiplash. This is actually a growing trend in Hollywood — one person, multiple disciplines. “It used to be that you needed a very specific set of skills; it was very specialized,” says Wilkins. “But now it’s more democratic, thanks to the democratization of the tools.”
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