We did a lot of recording even at that stage, working through various rhythm-based mechanics and machines to see how we could scale them up to the size of the towns on screen. This was similar to the setup in the original teaser that showcased the small town of Salzhaken. This show came into our consciousness back in 2010, when Peter created an original pitch as an animated sequence. We had some material in our libraries that was useful, but - as is our approach to shows - we were determined to create a unique soundtrack. For me, the other main consideration was concerning scale. Instead, we were prioritizing the material he wanted to focus on. How did you enhance the film’s steampunk-look through sound? What were some of your sound sources?īB: As I mentioned, the steampunk concept was minimized somewhat in our early concept discussions with Christian. In terms of challenges, it’s about finding the right fit for the material to the editors, and working with Dave Whitehead on areas we felt needed his input, which amounted to most areas, Also, I run the temp mixes as we progress through the show, which gives me great insight into how the mix will come together, and how the effects from my editors will work in context with material from the other departments. I ensure that we have content available, and where we don’t, I arrange recording sessions to generate the right material that we can use. I run the effects side of the soundtrack, which involves ensuring we have the right crew for the areas of the show that can play to their strengths (on Mortal Engines I assigned the crew based on location). Jason manages this department, and we both manage the final mix for content and style. How did you divide the sound supervision duties on Mortal Engines? And what were your biggest challenges on the film?īB: These shows have the writers involved through the post process, so the dialogue department has to be prepared for any scenario of changing content or takes, as well as ADR requirements. It’s a post-steampunk universe, so he didn’t want to focus on that “genre.” He was after a sense of how things have developed from that concept. The world we inhabit in Mortal Engines is familiar in that it has evolved from the world we live in now, but we have gone through the age of steampunk into a world of invention and repurpose. How did director Christian Rivers want to use sound to help tell this story? What were his goals for sound on the film?īrent Burge (BB): Christian’s brief was straightforward and challenging at the same time. He’s joined by sound designer Dave Whitehead (at White Noise in New Zealand), who shares details on how he designed the sounds for Shrike, Scuttlebug, the airships, MEDUSA, and more! How do you make something sound massive without competing with the dialogue and score? Here, Burge discusses their approach to that puzzle. And that was one challenge that the sound team - led by supervising sound editors Jason Canovas of POW Studios in Wellington, New Zealand and Brent Burge on the Sound ‘Freelancers’ roster at Park Road Post Production in New Zealand - had to meet head-on. Visually and sonically, this film does things on a grand scale. (You’d think, as a historian, Thaddeus would know better than to repeat the mistakes of the past. After he and his team rebuild the weapon, they attack the Shield Wall. To break through the Shield Wall, London needs a weapon that has cataclysmic power.Įnter Thaddeus Valentine (Hugo Weaving), a London historian who discovers remnants of the MEDUSA, a super weapon that caused the demise of the world’s cities hundreds of years ago. The solution lies beyond a massive ‘Shield Wall’ that blocks off the Himalayan Mountains, which is guarded by a fleet of airships piloted by the anti-traction league. It’s not a very sustainable source of fuel, thus London must seek out a new way to provide for itself. So instead of searching for resources the land can provide, London searches for smaller cities to cut up and feed into its furnace. But it takes a lot of energy to move a city the size of London.
They’re giant vehicles that roam the land in search of resources.
In the post-apocalyptic future of Universal Pictures’ film Mortal Engines, it’s not “the big fish eats the little ones,” but more like “the big city eats the little ones.” Cities are mobile entities.
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