![]() "You’ve got to build in the dynamics, the peaks and valleys. If you have a loud sound next to a loud sound, then it’s not really that loud. Then it just gets boring," Barnett explains. "You can't just play everything up all the time. Despite the fact that the John Wick movies have built a multi-billion dollar empire through over-the-top action set pieces, the folks behind each project never want to inundate viewers with too much of a good thing. RELATED: The Ending of The Continental Explainedīarnett's job was to then take that "sonic palette" and mold it to the narrative requirements of the story being told onscreen. "Without having worked in the world of John Wick - and having that fluency when it comes to world-building for John Wick in the action for John Wick - there's no way we would have been able to achieve all these other things that we've done with Albert's vision," he confesses. ![]() Gibelon, who has been a part of the franchise since its inception back in 2014, had the advantage of an existing sound library that he and his team have built and cultivated for close to a decade. ![]()
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