We spoke to Woodwind’s sound supervisor and surround sound mixer, Alec Mackay about the film.
The sound design and mixing was completed by Marcel Duvenage, before Mackay worked on the Dolby Surround Sound.
Here follows Mackay’s input and feedback on the feature film after finishing the surround:
On the music of Bonifaz
On first reading the script I became very interested in the constant searching and feeling that Bonifaz experiences. From the post production I found myself wanting to share in the sonic experience of Bonifaz and how he understands sound and music. I believe he has shared a new perspective on music – and more specifically sound design.
On experiencing how Bonifaz hears sound
An immersive surround sound design gives the audience the opportunity to experience sound in the same way that Bonifaz does, removing the separation between the audience and the screen. It is important for the audience to understand and share in the relationship that Bonifaz has with music, acoustics, and natural sound. The sound design focuses on delivering that relationship
On the composer, Bonifaz’s exploration with sound and music
I have a similar belief to Bonifaz that music can stem from any sound, and has more to do with the experience of the listener. My understanding is that Bonifaz is trying to find a new influence for his music outside of classical tradition, by listening to the music he hears in nature all around him.
On the soundtrack by Stefan Fraunberger
It’s interesting how the film underlines how both Western and Eastern music have deeply rooted classical traditions, and how their history and development are vastly different. I mostly enjoyed the music, the contrast in styles, the juxtaposition of natural and unnatural sound, and especially the original music created for the film.