Oscar-nominated actors like Cillian Murphy and Carey Mulligan might be the headline-grabbing stars you’ll hear mentioned everywhere ahead of this Sunday’s ceremony.
Lesser known are the names of the “uber geniuses” who’ve made audiences sit-up and listen in what’s been a stand-out year for sound in film.
Image: Cillian Murphy in Oppenheimer. Pic: Universal Pictures
From the small matter of recreating the noise of an atomic bomb going off for Oppenheimer, to the subtle but menacing churning of the concentration camp crematorium in The Zone Of Interest.
Sound is typically one of the least discussed categories at the Academy Awards, but this year there’s plenty to talk about.
On paper the nominees couldn’t be more different, there’s the team who had to work out how noisy Tom Cruise‘s death-defying Mission Impossible stunts should be, those tasked with setting the right tempo for Bradley Cooper’s Maestro mood swings, not forgetting the nominees who somehow conjured up what a future war with robots might sound like in The Creator.
But sound designer Johnnie Burn is arguably the one to watch having already won a BAFTA for his work The Zone Of Interest.
“This reaction to me is surprising,” Burn told Sky News on the red carpet before his win.
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“We are a small team of people who worked together for a year and a half, and I wasn’t really aware that sound was doing such an enormous load.”
The concept was director Jonathan Glazer’s idea to use sound to show the banality of evil unfolding through what we hear, challenging viewers to really listen to scenes of domestic bliss set against the muted sound of execution gunshots in the distance.
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Image: Sandra Huller in The Zone Of Interest. Pic: A24
As Burn explained: “It was a lot of research, it was reading witness testimony and understanding what happened to Auschwitz in 1943.
“Understanding what the motorbikes and the guns sounded like… Reading events of torture and murder that I could imagine would have a sound attributed to them, then going and re-enacting that as best as possible using sometimes actors but more so trying to find sound in the real world that’s similar and repurposing that, because that’s more credible than having an actor pretend.”
Not only did his team have to meticulously research the details of what the concentration camp would have sounded like, they also had to contend with a cast whose performances were being recorded on hidden cameras.
Unable to use booms they had to wire the house that’s at the centre of the film with three-quarters of a mile of microphone cable to capture their dialogue.
Image: Johnnie Burn. Pic: Reuters
While there is a quiet power to how and when sound is used in The Zone Of Interest, cinematically at the other end of the spectrum, Mission: Impossible – Dead Reckoning Part One, is packed full of action and noise.
Sound engineer Chris Burdon – who won the Oscar last year for Top Gun: Maverick and was nominated for Banshees Of Inisherin before that – had a massive task on his hands.
“On a car chase in Rome you’ve got 450 elements over a series of minutes, then you’ve got music with all the layers,” he said.
“It’s a kind of layering process… even a simple scene would have 20 layers of sound effects, whether it’s birds, footsteps, a door… Often you speak to family members or friends and they’re surprised that what they hear or see isn’t just recorded on location.”
Image: Chris Burdon. Pic: PA
When cinema transitioned from silent movies to talkies, filmmaking was transformed by the addition of sound. Cinema-goers quickly developed an insatiable appetite for musicals and gangster films.
The entire experience was a brand-new sensation – from hearing the mobster machine guns ring out across the cinema seats to the screeching tyres in a car chase.
Nowadays the addition of sound is something most of us take for granted but it remains an invisible art. And while a filmmaker can actually quite easily swap out a dodgy actor, they can’t cheat bad sound.
Image: Bradley Cooper and Carey Mulligan in Maestro. Pic: Jason McDonald/Netflix
According to The Creator director Gareth Edwards, experts in the field are “worth their weight in gold”.
“Tom [Ozanich] and Dean [Zupancic] who did our sound mix for The Creator are also nominated for Maestro, that’s no accident… These people are these uber geniuses of the industry.”
It is perhaps more obvious that a film about composer Leonard Bernstein had to be note perfect in terms of its audio, but how did the same duo set about figuring out what a war between humans and robots with artificial intelligence would sound like?
Image: Gareth Edwards. Pic: Europa Press/AP
Edwards said: “The tricky thing about doing sound design for a sci-fi movie… is that if you go too far you don’t even know what you’re listening to.
“You’ve got to try to find sounds that are one step away from what we know those sounds to be now.”
Whoever wins, while few watching this Sunday’s ceremony at home will recognise their faces, it’s highly likely you will have heard their work.
Instinctively while we may see filmmaking as a visual medium, this year’s brilliantly diverse range of films nominated for their sound demonstrate the transfixing and transporting hold it can have over an audience, often without us even realising it.
Actor Gina Carano has settled her lawsuit with Disney and Lucasfilm after claiming she was wrongfully dismissed from The Mandalorian for expressing her political opinions.
Carano was fired in February 2021 after starring as Rebel ranger Cara Dune in two series of the Disney+ Star Wars series The Mandalorian.
At the time, production company Lucasfilm said in a statement that her “social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable”.
But late on Thursday, she posted on X: “I have come to an agreement with Disney/Lucasfilm which I believe is the best outcome for all parties involved.”
She added that she “hopes this brings some healing to the force”.
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The details of the financial settlement have not been disclosed.
When filing her lawsuit at the Californian District Court last year, she had sought $75,000 (£59,000) in damages.
She also thanked Elon Musk for financing the lawsuit, despite the two having never met.
“I want to extend my deepest most heartfelt gratitude to Elon Musk, a man I’ve never met, who did this Good Samaritan deed for me in funding my lawsuit,” she wrote in her post. “Thank you Mr. Musk and X for backing my case and asking for nothing in return.”
The X owner is an ardent advocate of free speech and has funded similar legal battles previously.
Image: Carano as Cara Dune.’The Mandalorian’. Pic: Lucasfilm/Disney/Kobal/Shutterstock
Carano signed off: “I am excited to flip the page and move onto the next chapter.
“My desires remain in the arts, which is where I hope you will join me. Yes, I’m smiling. From my heart to yours, Gina.”
In response to the settlement, Lucasfilm said in a statement: “Ms Carano was always well respected by her directors, co-stars, and staff, and she worked hard to perfect her craft while treating her colleagues with kindness and respect.
“With this lawsuit concluded, we look forward to identifying opportunities to work together with Ms. Carano in the near future.”
In legal documents, Carano’s team claimed both Disney and Lucasfilm had “targeted, harassed, publicly humiliated, defamed, and went to great lengths to destroy Carano’s career”.
She also alleged she was treated differently to her male colleagues. Neither company commented on these claims.
Image: Pic: Lucasfilm/Disney/Kobal/Shutterstock
Lawyer Gene Schaerr, managing partner at Schaerr Jaffe, said at the time: “Disney bullied Ms Carano, trying to force her to conform to their views about cultural and political issues, and when that bullying failed, they fired her.
“Punishing employees for their speech on political or social issues is illegal under California law.”
Carano, who began her career as a mixed martial arts fighter, has starred in other Hollywood franchises, including Fast & Furious 6 as Riley Hicks, and Deadpool, in which she played Angel Dust.
Eddie Murphy has told Sky News he doesn’t ever expect to win awards – but will happily accept an honorary Oscar when he’s 90.
Murphy is one of the biggest stars in comedy after starting out on Saturday Night Live (SNL) in 1980 and starring in a number of big franchises from Beverly Hills Cop to Shrek.
His latest project is heist comedy The Pickup, centred on two security van drivers. Keke Palmer and Pete Davidson star alongside him.
Image: Pete Davidson, Eddie Murphy and Keke Palmer in The Pickup. Pic: Amazon MGM Studios
Murphy says award recognition was never something that shaped the projects he chose.
“The movies are timeless, and they’re special, so for years and years those movies play and the movies have commercial success.
“So you make a lot of money and people love it, so you don’t even think about ‘I didn’t win a trophy!’ The response from the people and that the movie has legs, that’s the trophy.
“You know what I’ve earned over these years? One day, they’ll give me one of those honorary Oscars. When I’m really old. And I’ll say thank you so much for this wonderful honour. I’ll be old like that and I’ll have no teeth. I’m cool with getting my honorary Oscar when I’m 90.”
Murphy, 64, has only been nominated once – for Dreamgirls in 2007, when Alan Arkin won the best supporting actor Oscar for Little Miss Sunshine.
Murphy’s co-star Palmer says she considers Murphy an icon in the industry, and The Nutty Professor was a true display of his artistry.
Image: Eddie Murphy as Sherman Klump in The Nutty Professor. Pic: Reuters
“I feel like recognition and [being] underrated and all this stuff, it annoys me a little bit because I think impact is really the greatest thing, like how people were moved by your work, which can’t really be measured by an award or really anything,” Palmer says.
“It’s very hard to make people laugh, and so when I think about it like The Nutty Professor, Eddie was doing everything, and I swear that the family members were real people.
“He didn’t camp it to the point where they weren’t realistic. His roles had integrity, even when he was in full costume. And I do think that’s something that should change in our industry. Comedy, it should be looked at just as prestigious as when you see somebody cry, because it’s that hard to make somebody laugh.”
Image: Eddie Murphy and Pete Davidson in The Pickup. Pic: Amazon MGM Studios
Recalling his time on the 90s comedy, Murphy says he’s still in disbelief of what they achieved in making the film with him playing seven characters – Professor Sherman Klump, Buddy Love, Lance Perkins, Young Papa Klump, Granny Klump, Ernie Klump and Mama Klump.
“You can only shoot one character a day. And the rest of the time you’re shooting, I’m talking to tennis balls where the people were sitting.
“So to this day when I watch it, I’m like, wow, that’s a trip. But we were able to mix all that stuff up and different voices and make it feel so that you don’t even feel like when you’re watching it, someone have to tell you, hey, you know, those are all one person.”
The film won best makeup at the 1997 Academy Awards.
Security guards buddy comedy
Palmer says their new project, The Pickup, is responsible for one of the most memorable moments of her life when she mistook Murphy’s acting for real praise.
“First of all, Eddie gives me this big speech before I do the monologue, where he’s like, ‘this is not playing around. This is a pivotal point in the movie’.
“I’m crying in the scene, and then it comes to the end, and Eddie’s [clapping] like, and I’m literally like, ‘oh my gosh, thank you so much’. And he’s like, ‘I’m acting’. When I tell you, it was so crazy, yeah. That’s like one of my most memorable moments in life.”
Image: Keke Palmer and Pete Davidson star in The Pickup
Davidson is excited to see how the UK puts its own stamp on SNL, the show where both he and Murphy got their start on-screen.
“It’s a smart idea to have SNL over there because it’s not that it’s a different brand of comedy, but it is a little bit. A lot of the biggest stuff that’s in the States is stuff that we stole from you guys, like The Office or literally anything Ricky Gervais does.
“This is the first time I’ve ever heard anything American going to the UK, so I think it’s great. I think it’s great to have two opposite sorts of takes on things, but both be funny. That just shows you how broad comedy can be, you know?
Dean Cain has been branded the “worst superman ever” as he announced he will join the US Immigration and Customs Enforcement (ICE) “ASAP”.
The 59-year-old, who was cast as Superman in the TV series Lois & Clark: The New Adventures of Superman, announced he had joined the team amid the federal agency’s unprecedented immigration raids.
He told Fox News on Wednesday his recruitment video on Instagram had gone viral and since then, “I have spoken with some of the officials over at ICE and I will be sworn in as an ICE agent ASAP”.
“You can defend your homeland and get great benefits,” he said in the Instagram post where he appealed for his followers to join ICE.
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Speaking with the Superman theme song in the background, he said “hundreds of thousands of criminals” had been arrested since US President Donald Trump took office.
He then told his followers they would get a series of benefits if they joined ICE, including a $50,000 (£37,407) signing bonus and student loan repayment.
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“If you want to help save America ICE is arresting the worst of the worst and removing them from America’s streets,” he said, before adding: “I voted for that.”
ICE agents are under pressure from the White House to boost their deportation numbers in line with Mr Trump’s campaign promise to crack down on illegal immigration.
Cain’s post on Instagram received some backlash, with one user commenting: “Worst superman ever”.
Another said: “Shame on you Dean – that’s the most un-Superman thing you could possibly advocate.”
One fan turned against him and said: “Until I saw this I was such a fan. What a sad human being you must be.”