Oscar-nominated sound mixer behind 'Hacksaw Ridge'

Sound mixing nominee Kevin O'Connell shows ABC News' Lesley Messer the process behind Hacksaw Ridge's realistic battle sounds.
12:17 | 02/14/17

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Transcript for Oscar-nominated sound mixer behind 'Hacksaw Ridge'
I ever I'm the digital and I'm luckily there digital editing an editor for EEE news. An in your cabinet colleagues found extra the Academy Award nominee are etched. Haven't felt it boxer Oscar. And an agreement and that all the about what you're profits in the movie and very very happy. It's absolutely well this is this the stories about the battle of Okinawa. Which brews. The bloodiest battles with some people were Q the nickname of this battle with the typhoon steel. Which which what that meant was this that this this the apartment if Iran were being continually bombarded with artillery. Four days and weeks and months. The stories about Desmond Doss who is this pacifist who refused to pick up a weapon but yet when losers country. Turned out to be one of the most heroic characters. Any movie I've ever worked on you know it's true story. And the objective for the sound team was to put the audience on that battlefield. In world QWERTY with the characters. And but I would a lot of people don't understand about what we do it's that when they shoot the battle scenes. It's a bunch a guys running around oh basically. Dirt field sized football field. And all of the explosions are props the guns are props none of it makes the noises that it does. The only parts of the regional track we're able to keep we're very small pieces of the dialogue. Other than that every single. Explosion gunshot ricochet bullet whizzing sound it quick step. Everything has been recreated with period authentic. Of weaponry. You create what was essentially the battle. The Pacific about. Todd undertake the head. I can't imagine going pound by pound was particularly. Well it it actually takes months for the stockings ditched altogether and what most folks understand is that we have control over every single sound in the movie. If you think about it like cinematographer could rack focus on the scene and change the perspective on what they want you to focus on. We do the exact same thing here which now. The mixing console that forcing it on. Has literally. Thousands sound sound in his dialogue this accident the music. All broken down into every different group sort of the orchestras separated from the percussion woodwind brass. All the difference is that together so that wall were mixing this film and shaping the focus of the sonic landscape. What were able to do is sit with the director of the film editor and the producer and the composer and what we do with shape what you see in the movie. And Republicans are not just. Doing it for Weiner to speakers you're doing more. Throughout you have basically in this room has 56 speakers that make up just this campus around ambiance. Via theaters. And we we all these speakers. All. We use every single speaker. Route. Alfred Amex are obviously that is not your first bell. So what need this specific project different from. What made this project different than all the others was this story and and and and be honest with you the I was pretty with approached by bill mechanic. Who asked me to do it about a year and a half ago he told me get a hundred million dollar picture that the only had a hundred that they the only at forty million dollars to me. So when someone tells you that you know that the that you're probably not enemy here your rate on the show but and he told me story. And the story was so compelling. And then he told me that Mel was directed at that when I was all in its. Absolutely. Wonder wonderful to work Melanie and attacked him it is not your first time on this matter come from and with it just keep getting better he's just the magnificent story teller. I think one of the best of mine. Well you office that we we spoke little or bet you were saying that he really let you know. Do your job he wasn't hurt micromanaging you know runs and he trusted here you. Rector directors range from you know eight is he on the scale and whether or not micromanage your not and Mel is definitely at the back into that you know he. Lets you do he hires people that he feels are not competent to do what you know the job. And he lets you do what you do in the and he comes and evaluates it and then you know. He gets injured himself actually have a scene queued up your right and show you. That that a let me just added up really seen it's just after the big battle. Andrew Garfield in the breeze here hunkered down in the foxhole. These settled down prevail when all of a sudden injuries surprised by Japanese soldier pots is that over the berm. Well we couldn't in music or sound effects more with exactly the right sound to to scare the crap yeah. So what melted is no have to keep you give it try. And and we ensures we gave Mello microphone and has the deputies or your pockets had a Mel screamed in the microphone. We put that sounded all 56 speakers in the room one time trust units the first time we played it for us here at the crap. I gunplay is a night and play well melded if you wanted to I have. This is V that. There's this new birth. Okay. I don't they can actually. It's. I'm do not. Let me play that the one more time we've just the piece that melted due news. But. That's now. I speakers of the room which when amplified. It's pretty. Well. OK so it has. An. Affair with his heart and soul and everything you. When we know he's an emotional director. And so when this team calls for a particular emotion he knows exactly what he wants to get this season of the scene in the movie. Where Andrews on the top of the ridge can decide he sees that they're not winning all of this all of these aren't dying and wounded. And we can't hear what do you he's talking to god when. You know melt wondered as to take all the sound and happened still exists but haven't existed in different altered states that we. Completely redesigned all this accountable and who's talking to god and your reason to do and then once its directive on what to do we sort of structured colonel. Being realistic in humans and. So. It that the what are the things that make it's not different is beginning without Reuters you know Muzak rent it juts out. Mechanic thanked him for those of you who haven't seen a movie. It's about looking there's no it's eleven minutes they believe are rehearsed. Battle is about eleven minutes where there is no no music. No immediate comment it's just happen is hara hi absolutely show. From a panic thing perspective that's not the gift. Well absolutely listen that that was always knows intention from the beginning you know. The idea was here's this guy who's just beyond wrote character running in to this. War is hell you know a horrific. Seen. And and Mel wanted to for the audience understand exactly what was he was doing. And and what we're doing is it's trying to put the audience on that battlefield so that entire ten minutes it's. Film. Has to be carefully choreographed by the sound team every single explosion there's about 300 of them. You know of the thousands of gunshots but wheezing Rick Pittsburgh ricocheted through bullets flying overhead the Canon fire the planning. Everything. Everything is carefully shaped with perspective. And placement all around the room in the and the screen to make you feel are on the outlook. That's what happens when you mix of film removing it we can take something please them all around theater so that we can surround the audience with with the sound about. So it's not jets that you're seeing with bullets whizzing over after the characters you're actually. Hearing them going over your head right via. Well legacy and the explosions are are are prop exploit that they didn't make any sound the guns are sparing real bullets and the route breezing ricocheted and that's that pearl Earl visual effects though. What makes you believe. Are the sound effects and sound of next validate the visual. If you absolutely don't see this movie on a computer coast yet in the movie hair please go sit edited it and so cool. Are there other things that you did with this movie that you better new for you someone has worked industry. Well one of these that we did that was a little bit different was remixed reprieve makes the film them Sydney sound Berman a great facility and in temperament my two coworkers. Andy right and robbing and either you very count that you guys. And what we did is that facility with an all inclusive facilities so that of the fully department ADR department the cutting rooms. The stories did everything it's all in one area to real worked together for like a month on film were generally when I work on films here. The picture departments across town that the sound editor might be another building in there with all want so we're all collaborating all time. We get if we had a question we bought them all talk to melt and John Gilbert in the picture department they'd or they'd walk in the afternoon today guys meticulous and replacements the in we get feedback. A lot of times we can get that feedback into that we're in the final next rituals through. Tina I'll have to get our pretty well he seemed to be spending a lot of time but somehow some. Is truly enough everybody in the film gone really really well yeah it was a really pleasant experience and analysts and even Andrew Garko stuck by. Visit a couple of times and in a lot of credit for this film has to go to Andrew hit performance heated mis job. And was that he so believable as those in Boston's incredible. So. To be nominated and for sound mixing but also in a year where. There are so many have their nominations in the felt from now answer to you are not out of there. To share all of that got amnesty is passed. Well listen we're in this with a little film that could it with a bunch of folks working on a film that didn't have a very big budget. But everybody was doing it wrote for the local the you know what films about what it represented. And and I think if you talk to any of us that kind of are there extra for it wasn't about money. It would develop it was about the project and is about this true American hero. Desmond that you know a lot of credit has to go to bill mechanic who spent thirteen years. Of his life trying to bring this story to beat green when when you know so many people failed in the in the past due that. Then builds tenacity. You know god outward and you know we're getting involved with the finals rob them. When we talk about this before this is George when he first nomination right which I mean. Humor thing for it never gets never solved. It you know it never gets old and I'd I'm am grateful whenever I've been nominated for Oscar and is grateful as can be about it you know I've I've never won in the past. But never won in the past but I I'm not bitter about that and actually feel that everything happens for a reason and when it's my time when it's my place that'll be the right I'm right but some Angela. I mean Al EE and how. With the victory and it kid and I wouldn't it with an ax syringes is is that figure very very powerful moment because some of the best work recovered so I'd be I'd be honored that don't want. Is there anything he didn't ask you about this whole process or well at. I think you pretty much covered it. I mean it it's in. It's it's this and you couldn't have a better film for sound and tax Armitage it is independent opted to unify it epitomizes. And I think there have been arises. You know what this downward well. And it actually. It didn't check in I get you an excuse I Ginsburg. In this were at the sunny hot and I have and a late teens and every time write a book tropical. Thank you very much and I really appreciate you get figure. Well thank you guys so much for spending and timing again I'm likely mastered it is an O'Connor thank you I'm excerpts how sirens. And we both these.

This transcript has been automatically generated and may not be 100% accurate.

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