Five Great Scenes I Reference Time and Time Again for Sound
Here are 5 great move scenes that I find myself coming back to when doing sound design for offline edits.
There are a number of scenes that I will reference time and time again when working on sound design for sequences in the offline edit.
1. Heat
Director: Michael Mann
Editor: William Goldenberg
This scene in Heat is a great example of the importance of good production sound in creating a strong foundation for the post-production sound pass. The vast majority of the sound used in the movie is the actual recorded sound of the guns and how they reverberated around the buildings in downtown Los Angeles, where the scene was shot. The chilling bursts of gunfire and the long, reverberating echoes hold the audience in an eerie quiet between the sharp bursts of violence.
When working on shootout or action scenes, I always start by doing a pass with the production sound. Action sequences are often interrupted by instructions from stunt teams and directors, as the focus on set is usually on the visuals. This makes it challenging for sound recorders to capture guns or explosions effectively in these environments. As a result, it often requires some effort to find usable audio. It may also take some mixing to reduce the loud pops of guns or explosions. When doing a sound pass on these scene I take time to search out as much usable production sound as possible first and carefully build and mix a production sound base before working on the sound effects pass. This often sounds a little basic on its own but adds a layer of realism to the final scene which is much harder to create with sound effects alone.
In a recent action scene, I was also able to sift through the various radio mics recorded by the sound team to get some nice performances from many of the background artists. By layering these ad-libbed performances on top of good crowd walla, I was able to create a mix that balanced realism and spectacle.
2. Sicario Border Scene
Director: Dennis Villeneuve
Editor: Joe Walker
Another great shootout scene I often revisit is the border crossing sequence from Sicario. Unlike the scene in Heat, where gunfire drives the action, this scene uses gunfire as a release of tension. The real power of the sequence comes from the way it plays with silence.
Denis Villeneuve is a director who uses sound with precision. From the gritty realism of Prisoners and Sicario to the epic scale of science fiction films like Blade Runner 2049 and Dune, Villeneuve consistently grounds his films in their own unique realities through sound design.
In the border crossing scene, Villeneuve and editor Joe Walker carefully use audio to establish the geography of the threat. Once it's clear the group is trapped in traffic on the bridge, they take the time to set up and locate each potential danger. For instance, the barking dog in one of the cars becomes an anchor, allowing the audience to track that vehicle’s position based on where the barking is heard. Specific sounds within a shot can help direct the viewer's attention to what the protagonist is focused on, effectively guiding their gaze.
Another key element that builds tension in this scene is the careful use of gun movements, footsteps, and other subtle "quiet sounds" that maintain suspense throughout the standoff.
The score in Sicario is also exceptional. Jóhann Jóhannsson’s music is minimal, hiding in the background while gently guiding and building tension. It supports the scene by enhancing the mood without overpowering the sound design, allowing the sound to do the heavy lifting.
3. Next Floor
Director: Dennis Villeneuve
Editor: Sophie Leblond
Another film by Villeneuve that I often reference is his short film Next Floor. This film is a wonderfully grotesque surrealist commentary on gluttony and consumerism.
I love how Villeneuve uses exaggerated traditional foley sound effects combined with grotesque horror sounds, almost in a rhythmic, musical way, building the tempo throughout the short.
I frequently referenced Next Floor when editing the short film Procession for Jeda De Brí. The film required a heightened reality, blending exaggerated characters with Irish and Creole influences. Inspired by Next Floor and early animated shorts, we worked to infuse a rhythmic musicality into everything in the town—from the butcher's knife in sync with the band to the ticking clock and the sounds of the pub. We carefully curated the soundscape, timing the film to the rhythm of the audio as much as to the performance or other elements.
As with most films, the majority of the soundscape we created in the edit was replaced and refined in the final mix. However, by layering the sound effects during the offline edit, we provided the sound team with a sketch of what was needed and allowed enough space in the picture pacing for the sound to breathe. The sound effects also guided the rhythm of the film.
4. Roma
Director: Alfonso Cuarón
Editor: Adam Gough
Roma made exceptional use of the Dolby Atmos palette. It’s still possibly the best example of a film where sound—and sound within a specific space—plays a crucial role. The film’s pacing also allows space for the sound to be a significant narrative driver.
There are many excellent examples in the film where sound was recorded specifically for a three-dimensional space. Cuarón made it a point to conduct large crowd recordings for scenes where actors played specific roles within the sequence, all the way down to specific background actors. All the sounds were expertly mixed within the three-dimensional space that Dolby Atmos provides. The tonebenders podcast on Roma goes into great detail on how this was achieved and the attention to detail required.
Since watching Roma, I now mix everything in 5.1, although I often monitor audio on stereo speakers or headphones. The advantage of working in 5.1, even if monitoring in stereo, is that it encourages thinking about sound in three dimensions. Additionally, Avid does a decent job of mixing down 5.1 to stereo, and in my experience, this leads to the sound feeling better placed, even in the stereo environment.
My first experiment with mixing in 5.1 (while monitoring in stereo) was a short film I made after a trip to Rio in 2018 (it’s more of a holiday video with sound effects). This was a great opportunity to familiarise myself with the tools in an environment where I had the time to experiment.
5. 6 Underground
Director: Michael Bay
Editor: William Goldenberg
I might not make many friends by saying this, but I do enjoy a bit of "Bayhem" and always look forward to a new release from Michael Bay. 6 Underground is no exception. I particularly love the rhythmic editing style of William Goldenberg.
The film is undeniably over-the-top, but I often find myself revisiting the Florence chase sequence in 6 Underground. Goldenberg uses short, sharp bursts of exaggerated sound effects to complement the visual action. There is a specific use of sound to direct you to exactly what you should be focusing on in each shot. There is also a great use of rises, whooshes and other transitional and movement sound effects.
Although I’ve never had the opportunity to work on something that allows for such grandiose sound design, most action sequences follow a similar approach, albeit on a much smaller scale. In these sequences, sound effects should work just as hard as the visuals to direct the eye, set the rhythm, and maintain the continuity of the action. Smart placement of rises, whooshes and other transitional and movement sound effects can really help the edit.