Fury Part I: The Sounds of War
By Jennifer Walden
Having three job titles on a film may seem like a huge undertaking, but it’s actually quite a natural flow — taking the reins at the starting gate and steering a film’s sound from the pre-production phase through the final mix of the sound effects. That’s just what Paul N.J. Ottosson (sound designer, sound re-recording mixer and sound supervisor) has done for every film he’s worked on since 2008’s The Hurt Locker, for which he won two Oscars (Best Sound Editing, Sound Mixing), including 2012's Zero Dark Thirty, for which he won a Best Sound Editing Oscar.
As the supervising sound editor, sound designer and re-recording mixer for the sound effects on director David Ayer’s Fury, Ottosson was able to take concepts from early conversations with Ayer and maintain those through the final mix. “It’s a good linear process. I feel like it’s all one coherent thought,” he says. “There’s very little conversation at the mixing stage about the direction we discussed early on in the movie.”
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