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.
Gossip Girl actress Michelle Trachtenberg died as a result of complications from diabetes, New York City’s medical examiner has said.
The 39-year-old, who was also known for Buffy the Vampire Slayer and Harriet the Spy, was found dead at her home in New York City after officers responded to a 911 call on 26 February.
According to a source quoted by Sky News’ US partner network NBC, she had recently received a liver transplant.
At the time of her death, officials said no foul play was suspected, and the medical examiner’s office had listed her death as “undetermined”.
Trachtenberg’s family had objected to a post-mortem, which the medical examiner’s office honoured because there was no evidence of criminality.
But the medical examiner’s office said in a statement on Thursday it amended the cause and manner of death for the actress following a review of laboratory test results.
Trachtenberg was best known for her role as Dawn Summers in Buffy, the younger sister of the title character played by Sarah Michelle Gellar between 2000 and 2003.
Between 2008 and 2012, she played Georgina Sparks on Gossip Girl – the malevolent rival of Blake Lively’s Serena van der Woodsen and Leighton Meester’s Blair Waldorf.
She also starred in the movie 17 Again, where she portrayed daughter Maggie O’Donnell, comedy film Eurotrip and the 2005 teen film Ice Princess.
In 2001, she received a Daytime Emmy nomination for hosting Discovery’s Truth or Scare.
Seven years after allegations against him first emerged online, Harvey Weinstein is back in court.
When the accusations surfaced in late 2017, the American actress Alyssa Milano tweeted: “If all the women who have been sexually harassed or assaulted wrote ‘Me too’ as a status, we might give people a sense of the magnitude of the problem.”
This gave birth to what we now know as the #MeToo movement and a flood of women – famous and not – sharing stories of gender-based violence and harassment.
Weinstein, 73, was jailed in 2020 and has been held at New York’s notorious Rikers Island prison complex ever since.
On 15 April, jury selection for his retrial got off to a false start, with none of the 12 potential candidates or six alternatives being deemed suitable. One, an actor, described Weinstein as a “really bad guy” and claimed he could not remain impartial. A woman also bowed out after declaring she had been the victim of sexual assault.
Once jurors are selected, the original charges of rape and sexual assault will be heard again, with opening statements and evidence due to start on 21 April.
Here we look at why there’s a retrial, why Weinstein will likely remain behind bars – and what has happened to #MeToo.
Why is there a retrial?
Weinstein is back in court because his first two convictions were overturned last April and are now being retried.
In 2020, he was sentenced to 23 years in prison after being found guilty of sexually assaulting ex-production assistant Mimi Haley in 2006 and raping former actor Jessica Mann in 2013.
Image: Miriam (Mimi) Haley arrives at court in New York in 2020. Pic: AP
Image: Jessica Mann outside court in Manhattan in July 2024. Pic: AP
But in April 2024, New York’s highest court overturned both convictions due to concerns the judge had made improper rulings, including allowing a woman to testify who was not part of the case.
At a preliminary hearing in January this year, the former Hollywood mogul, who has cancer and heart issues, asked for an earlier date on account of his poor health, but that was denied.
Image: Arriving at court for his original trial in New York in February 2020. Pic: Reuters
When the retrial was decided upon last year, Judge Farber also ruled that a separate charge concerning a third woman should be added to the case.
In September 2024, the unnamed woman filed allegations that Weinstein forced oral sex on her at a hotel in Manhattan in 2006.
Defence lawyers tried to get the charge thrown out, claiming prosecutors were only trying to bolster their case, but Judge Farber decided to incorporate it into the current retrial.
Weinstein denies all the allegations against him and claims any sexual contact was consensual.
Speaking outside court on 15 April, his lawyer Arthur Aidala, said he was “cautiously optimistic that when all the evidence is out, the jury will find that all of his relationships were consensual and therefore reach a verdict of not guilty”.
Why won’t he be released?
Even if the retrial ends in not guilty verdicts on all three counts, Weinstein will remain behind bars at Rikers Island.
This is because he was sentenced for a second time in February 2023 after being convicted of raping an actor in a Los Angeles hotel room in 2013.
Image: At a pre-trial hearing in Los Angeles in July 2021. Pic: Reuters
He was also found guilty of forcible oral copulation and sexual penetration by a foreign object in relation to the same woman, named only in court as Jane Doe 1.
The judge ruled that the 16-year sentence should be served after the 23-year one imposed in New York.
Weinstein’s lawyers are appealing this sentence – but for now, the 16 years behind bars still stand.
Has #MeToo made a difference – and what’s changed?
“MeToo was another way of women testifying about sexual violence and harassment,” Dr Jane Meyrick, associate professor in health psychology at the University of West England (UWE), tells Sky News.
“It exposed the frustration around reporting cases and showed the legal system was not built to give women justice – because they just gave up on it and started saying it online instead.
“That was hugely symbolic – because most societies are built around the silencing of sexual violence and harassment.”
Image: Women on a #MeToo protest march in Los Angeles in November 2017. Pic: Reuters
After #MeToo went viral in 2017, the statute of limitation on sexual assault cases was extended in several US states, giving victims more time to come forward, and there has been some reform of non-disclosure agreements (NDAs), which were regularly used by Weinstein.
This has resulted in more women speaking out and an increased awareness of gender-based violence, particularly among women, who are less inclined to tolerate any form of harassment, according to Professor Alison Phipps, a sociologist specialising in gender at Newcastle University.
“There’s been an increase in capacity to handle reports in some organisations and institutions – and we’ve seen a lot of high-profile men brought down,” she says.
“But the #MeToo movement has focused on individual men and individual cases – rather than the culture that allows the behaviour to continue.
“It’s been about naming and shaming and ‘getting rid’ of these bad men – by firing them from their jobs or creating new crimes to be able to send more of them to prison – not dealing with the problem at its root.”
Image: Actress Alyssa Milano tweeted about #MeToo when the Weinstein accusations surfaced. Pic: AP
Dr Meyrick, who wrote the book #MeToo For Women And Men: Understanding Power Through Sexual Harassment, gives the example of the workplace and the stereotype of “bumping the perp”, or perpetrator.
“HR departments are still not designed to protect workers – they’re built to suppress and make things go away.” As a result, she says, men are often “quietly moved on” with “no real accountability”.
The same is true in schools, Prof Phipps adds, where she believes concerns around the popularity among young boys of self-proclaimed misogynist and influencer Andrew Tate are being dealt with too “punitively”.
“The message is ‘we don’t talk about Andrew Tate here’ and ‘you shouldn’t be engaging with him’,” she says. “But what we should be doing is asking boys and young men: ‘why do you like him?’, ‘what’s going on here?’ – that deeper conversation is missing,” she says.
Image: The former film producer on the red carpet in Los Angeles in 2015. Pic: AP
Have high-profile celebrity cases helped?
Both experts agree they will have inevitably empowered some women to come forward.
But they stress they are often “nothing like” most other cases of sexual violence or harassment, which makes drawing comparisons “dangerous”.
Referencing the Weinstein case in the US and Gisele Pelicot‘s in France, Dr Meyrick says: “They took multiple people over a very long period of time to reach any conviction – a lot of people’s experiences are nothing like that.”
Prof Phipps adds: “They can create an idea that it’s only ‘real’ rape if it’s committed by a serial sex offender – and not every person who perpetrates sexual harm is a serial offender.”
Image: A woman holds a ‘support Gisele Pelicot’ placard at a march in Paris during her husband’s rape case. Pic: AP
Image: Gisele Pelicot outside court. Pic: Reuters
Part of her research has focused on “lad culture” in the UK and associated sexual violence at universities.
She says: “A lot of that kind of violence happens in social spaces, where there are drugs and alcohol and young people thrown together who don’t know where the boundaries are.
“That doesn’t absolve them of any responsibility – but comparing those ‘lads’ to Harvey Weinstein seems inappropriate.”
Dr Meyrick says most victims she has spoken to through her research “wouldn’t go down the legal route” – and prosecution and conviction rates are still extremely low.
“Most don’t try for justice. They just want to be believed and heard – that’s what’s important and restorative,” she says.
But specialist services that can support victims in that way are underfunded – and not enough is being done to change attitudes through sex education and employment policy, she warns.
“Until we liberate men from the masculine roles they’re offered by society – where objectification of women is normalised as banter – they will remain healthy sons of the patriarchy.
“We need transformative, compassionate education for young men – and young women. That’s where the gap still is.”
Body camera footage of Gene Hackman’s home has been released by authorities investigating the deaths of the actor and his wife.
The video captured by Santa Fe County Sheriff’s Office shows officers inside and outside the property in northern New Mexico, with a German shepherd barking at some points as they carry out their search.
Image: Hackman and Arakawa pictured in 2003. Pic: AP/ Mark J Terrill
The bodies of Hackman, 95, and his wife, Betsy Arakawa, 65, were found in separate rooms of their home on 26 February.
“He’s guarding her,” a male officer can be heard saying, about the dog found alive at the home. “He seems pretty friendly.”
There is another “10-7 dog” – meaning the pet is dead – “round the corner in the kennel”, the officer says.
Rat nests and dead rodents were also discovered in several outbuildings around the property, an environmental assessment by the New Mexico Department of Health revealed.
The inside of the home was clean and showed no evidence of rodent activity.
In March, a medical investigator concluded Arakawa died from hantavirus pulmonary syndrome, a rare infectious disease that can be caused by exposure to rodents.
Image: Law enforcement officials pictured outside the property in Santa Fe the day after Hackman and Arakawa’s bodies were found. Pic: AP/Roberto Rosales
According to the records now released by the county sheriff’s office, Arakawa was researching medical conditions related to COVID-19 and flu between 8 February and the morning of 12 February.
In one email to a masseuse, she said Hackman had woken on 11 February with flu or cold-like symptoms and that she wanted to reschedule an appointment “out of an abundance of caution”.
Search history on the morning of 12 February showed she was looking into a medical concierge service in Santa Fe. Investigators said there was a call to the service which lasted under two minutes, and a follow-up call from them later that afternoon was missed.
The police footage shows officers checking the home and finding no signs of forced entry or other suspicious signs.
Image: Pic: Santa Fe County Sheriff via AP
What is hantavirus?
HPS, commonly known as hantavirus disease, is a respiratory disease caused by hantaviruses – which are carried by several types of rodents.
It is a rare condition in the US, with most cases concentrated in the western states of New Mexico, Arizona, Colorado and Utah. This was the first confirmed case in New Mexico this year.
There has so far been no confirmation about any potential link by authorities between the rodents and the hantavirus disease that claimed Arakawa’s life.
Who was Gene Hackman?
Image: Pic: AP 1993
Hackman was a former Marine whose work on screen began with an uncredited TV role in 1961.
Acting became his career for many years, and he went on to play villains, heroes and antiheroes in more than 80 films spanning a range of genres.
He was best known by many for playing evil genius Lex Luthor in the Superman films in the late 1970s and ’80s, and won Oscars for his performances in The French Connection and Unforgiven.
After roles in The Royal Tenenbaums, Behind Enemy Lines and Runaway Jury in the 2000s, he left acting behind after his final film, Welcome To Mooseport.
He and Arakawa, a pianist, had been together since the mid-1980s.