Sound Perspective Sound Perspective

Listen to the entire interview with Wayne Pashley, Derryn Pasquill and Andrew Miller from Big Bang Sound Design from episode 1 talk about their work on Mad Max, working with George Miller, their time on the Great Gatsby as well as a deep dive by Andrew Miller into sound effects editing for gunshots and action sequences.

David White was the Oscar-winning sound designer on Episode 1 of the podcast, one of the several people I talked to about the soundtrack of Mad Max: Fury Road. In this complete interview with him he discusses his acting background, what it was like working with George Miller, what the Australian film industry could do better, and how story should take precedence over everything else.

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I went down to Big Bang Studios in Rosebery to chat with director Mike Green, sound designer Peter Climpson and mixer Wayne Pashley, who I'd previously talked to in my episode about Mad Max. We chatted about Mike's debut feature, Outback, a psychological thriller set in the Australian desert, how Mike and Peter developed a style in the films soundtrack, and what Wayne was able to bring as a seasoned sound mixer.

Outback premieres at Monsterfest in Melbourne on Saturday 12th October. Tickets at http://www.monsterfest.com.au/australia/program/?layout=grid
Follow the film at https://www.facebook.com/Outbackthemovie/

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In this episode I talk with a big name in Australian sound design, Annie Breslin. Annie has worked for decades in Australian post-production sound as well as film preservation and archiving, with directors such as Gillian Armstrong, Samantha Lang and Rachel Perkins, as well as in theatre and installation. She talked about the "old days" of Australian film, how she develops characters through a soundtrack and maintaining a work-life balance in this industry.

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Contact me at contact@soundperspectivepodcast.com

Peter Strickland is the British auteur director of underground cult hits such as The Duke of Burgundy, Berberian Sound Studio and In Fabric, which this year premiered at Toronto International Film Festival. I got the pleasure of interviewing him while he was in Sydney for a Q&A at AFTRS.
In this interview he talked about the struggles of post-production on a budget, his process of collaborating with composers, and how he uses music to communicate ideas to his actors.
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Yulia Akerholt is an Australian soundie who has worn all the hats in post-production sound over her career, specialising mostly in dialogue editing. She's worked on countless great Australian films such as Tracks, Samson and Delilah, and Little Fish.
We had a great chat about the often under-appreciated art of dialogue editing, designing the desert landscape of Tracks, working with Warwick Thornton and what it takes to break into the Australian industry these days.
Find her on IMDB here https://www.imdb.com/name/nm0009945/
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