The Sound Design Of Dune

This  video, by SoundWorks Collection director Michael Coleman, takes a look at the sound design of the Denis Villeneuve version of Dune.

The Sound Design Of Dune features Villeneuve discussing the benefits of early collaboration with his sound team. It also digs into the process of creating Dune’s unique soundscapes including: Arrakis desert, sandworms, ornithopters, spice (melange) and the voice of the Bene Gesserit.

The video features Villeneuve, Supervising Sound Editor & Sound Designer Mark Mangini, Supervising Sound Editor & Sound Designer Theo Green and Re-recording Mixer Ron Bartlett.

8 thoughts on “The Sound Design Of Dune

  1. I like field recording, you’re actually doing something real, interacting with life in the world of the living.

    unlike pushing buttons on a computer; super lifeless results.

  2. FH: This of course was done deliberately for that purpose … to turn … it’s a turning point of the whole book, but … a pivot, you might say … and the very fact that Kynes, who is the Western man, in my original construction of the book, sees all of these things happening to him as mechanical things doesn’t subtract from the fact that he is still a part of this system because it is observing him. He’s lived out of rhythm with it and he got in the through of the wave and it tumbled on him.

    WM: And we’re polluting our atmosphere, we’re polluting our rivers, we’re polluting our beaches because we don’t understand the principles of ecology, among other things.

    FH: Well, ecology, as somebody said…and I use this…I don’t recall…I’d like to contribute this, but I don’t recall where I encountered it … I did read over two hundred books as background for this novel … somebody said that ecology is the science of understanding consequences.

    WM: I remember that.

  3. WM: How long ago was this, by the way?

    FH: Oh, this was in ’53. This was considerably…

    WM: Fifteen years ago, more or less…

    FH: Yes. It was a long time ago. Sand dunes are like waves in a large body of water; they just are slower. And the people treating them as fluid learn to control them.

    WM: Fluid mechanics, in other words.

    FH: That’s it. Fluid mechanics, with sand. And the whole idea fascinated me, so I started researching sand dunes and of course from sand dunes it’s a logical idea to go into a desert. The way I accumulated data is I start building file folders and before long I saw that I had far to much for an article and far too much for a story, for a short story. So, I didn’t know really what I had but I had an enormous amount of data and avenues shooting off at all angles to gather more. And I was following them … I can’t read the dictionary, you know; I can’t go look up a word…

    WM: (Laughter)

    FH: I get stopped by everything else on the opposite page. But … so, I started accumulating these file folders, which I’ll show you later, and as a result, I finally saw that I had something enormously interesting going for me about the ecology of deserts, and it was, for a science fiction writer anyway, it was an easy step from that to think: What if I had an entire planet that was a desert? During my studies of deserts, of course, and previous studies of religions, we all know that many religions began in a desert atmosphere, so I decided to put the two together because I don’t think that any one story should have any one thread. I build on a layer technique, and of course putting in religion and religious ideas you can play one against the other. Now this is … you see, I’m talking about surface now…

  4. Too bad you can’t hear any of it since the entirety of the film is drained in the near constant, lifeless, headache inducing, Kontakt showcasing crap that is Hans Zimmers original sound track

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