can you talk to me a bit about how you approach the transitions in atmosphere/back ground sounds from one location to the next? JK: The scene transitions throughout the whole film are quite stunning. The odd creak here or whoosh there, letting the choral music support Emma’s narration. The veiled effect which filtered the images led us to mix down everything to an almost dreamlike level, so one was only vaguely aware of the sounds, just as a support to the subtlety on the screen. The look was very Eastern European and therefore we wanted a minimalist, quirky track, something along the lines of a Brothers Quay film. JM: Having a long lasting love of animation this scene was a joy to experiment with and again do something very different to any previous Potters. What was the design brief for this scene and how did you address it? JK: The animated sequence was very delicately handled by the sound department. We also had the use of the Potter-watch radio tuning to help segue between the characters and Harrys visions, thereby using an everyday sound to jolt us out of the moment, also allowing us the chance to add subtext dialogue when needed. A rare occasion where the lack of music meant a less predictable experience. It helped heighten the jeopardy and put the audience into the chase. these were not necessarily in synch which often meant hearing a close breath on a distant perspective, and not always of the person in vision.
With the snatcher chase scene we relied heavily on the production sound to cover the human elements, breaths and moans etc. JM: The realism of sound in this particular adventure gave us some rare opportunities to veer away from the usual Potter palette. How was this realism supported in the sound? JK: With the desaturated color and hand held camera work, this new chapter is visually much grittier than the other films, as if to suggest that nurturing of Hogwarts is over and reality is starting to set in. The treatment for Voldamort horcrux voices gave the dialogue team a chance to be creative, which is always appreciated. It also enhances the emotion of solitude and intimacy as well as being cinematic. This allows ambience, music, foley, dialogue and design to all feature without crowding the soundtrack. It has a lovely blend of subtlety and mystery which builds to a huge crescendo. JM: One of my favourite scenes is in the forest when Harry retrieves the sword and Ron kills the horcrux. JK: What was your favorite sequence/character/object to make sounds for and what was your process to create it?
We also like to stick with specific design elements like Gringots vault locks or the the door to the Chamber of Secrets, as the fans will know and love these. Spells and charms are an obvious example, so to are the Hogwarts fx (doors, ambience etc. Obviously the score has a considerable influence on how we approach things, defining whether or not tones are appropriate or more gritty, staccato or percussive elements. More often than not we start off with elements from the previous instalment, then tweak them to work in the latest version.
JM: Each production of Harry Potter demands it’s own unique sonic requirements but there are always generic sounds which we carry along the way. JK: To What extent is sonic consistency a priority when creating sounds for a film franchise like Harry Potter?
HARRY POTTER DEATHLY HALLOWS PART 1 SOUNDTRACK FULL
He kindly sent me the full Q&A for publishing here on the site, so we hope you enjoy it. Sound designer John Kassab recently interviewed supervising sound editor James Mather about his work on Harry Potter and the Deathly Hallows Part 1.
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