Academy Award-winning sound supervisor Alan Murray and re-recording mixers Tom Ozanich and Dean Zupancic discuss how they used impressionistic sound design to take the audience inside Arthur Fleck’s mind. They also deconstruct the film’s centerpiece subway confrontation and let the audience in on how a simple door creak can unnerve an audience. In the second part of this conversation, production sound mixer Tod Maitland discusses the challenges of capturing a gritty and disturbing 1970s Gotham City on the streets of a very modern-day New York.
