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A snapshot of our coverage from the year

Richard King talks sound design
for Christopher Nolan's Dunkirk

By Mel Lambert

Having garnered critical acclaim for its stunning and immersive soundtrack — particularly the IMAX showcase screenings — writer/director Christopher Nolan’s latest film follows the fate of nearly 400,000 allied soldiers who were marooned on the beaches of Dunkirk, and the plans to rescue them using small ships from nearby English seaports. While 68,000 soldiers were captured or killed during the Battle of Dunkirk, more than 300,000 were rescued over a nine-day period in May 1940.

Dunkirk’s primary story arcs — the Mole, or harbor from which the larger ships can take off troops; the Sea, focusing on the English flotilla of small boats; and the Air, spotlighting the activities of Spitfire pilots who protect the beaches and ships from German air-force attacks — follow different timelines, with the Mole sequences being spread over a week, the Sea over a day and the Air over an hour. A Warner Bros. release, Dunkirk stars Fionn Whitehead, Mark Rylance, Cillian Murphy, Tom Hardy and Kenneth Branagh. (An uncredited Michael Caine is the voice heard during various radio communications.)

Marking his sixth collaboration with Nolan, supervising sound editor Richard King worked previously on Interstellar, The Dark Knight Rises, Inception, The Dark Knight and The Prestige. He brings his unique sound perspective to these complex narratives, often with innovative sound design. Born in Tampa, King attended the University of South Florida, graduating with a BFA in painting and film. He entered the film industry in 1985. He is the recipient of three Academy Awards for Best Achievement in Sound Editing for Inception, The Dark Knight and Master and Commander: The Far Side of the World, plus two BAFTA Awards and four MPSE Golden Reel Awards for Best Sound Editing.

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Director Ron Howard discusses
his National Geo series, Genius

By Iain Blair

Not only did Ron Howard make the tricky transition to adult actor, he went on to establish himself as an Oscar-winning director and producer.

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War for the Planet of the Apes
editor William Hoy, ACE

By Mel Lambert

For this veteran editor, story and character come first. Hoy also likes to use visual effects “to help achieve that idea.”

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The challenges of dialogue
and ice in Game of Thrones

By Jennifer Walden

Colorist Stephen Nakamura: Grading Stephen King’s It
By Randi Altman

Three Billboards director
Martin McDonagh

By Iain Blair

Recreating history for
Netflix’s The Crown

By Randi Altman

Chatting with Scorsese
editor Thelma Schoonmaker

By Iain Blair

Creating a parched look
for Fear the Walking Dead

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