It is a central principle of sound editing that people hear what they are conditioned to hear, not what they are actually hearing. The sound of rain in movies? Frying bacon. Car engines revving in a chase scene? It’s partly engines, but what gives it that visceral, gut-level grist is lion roars mixed in. To be excellent, a sound editor needs not just a sharp, trained ear, but also a gift for imagining what a sound could do, what someone else might hear.
Skip Lievsay is one of the best. He won an Academy award in 2014 for his work on Gravity. He was awarded the 2015 Career Achievement award from the Motion Picture Sound Editors society. Goodfellas, Silence of the Lambs, Do The Right Thing – his work. He is also the only sound editor the Coen Brothers work with, which means that he is the person responsible for that gnarly wood chipper noise in Fargo, the peel of wallpaper in Barton Fink, the resonance of The Dude’s bowling ball in The Big Lebowski and the absolutely chilling crinkle of Javier Bardem’s gum wrapper in No Country for Old Men.
Trying to sum up what makes Lievsay special, Glenn Kiser, the head of the Dolby Institute and the former head of Skywalker Sounds, told me: “What separates tremendously gifted designers comes down to taste. Skip has an unfailing sense for the right sound, and how to be simple and precise. He’s not about sound by the pound.” Jonathan Demme, who first worked with Lievsay on The Silence of the Lambs, put it more concisely: “He’s a genius.”
Read the rest of this great article via Rain is sizzling bacon, cars are lions roaring: the art of sound in movies | Jordan Kisner | Film | The Guardian.