The Force of Sound: Creating sounds in a galaxy far, far away

Writer-Director Rian Johnson and the Oscar-nominated sound team of 'Star Wars: The Last Jedi' reveal the secrets used to give life to droids and creatures.
26:06 | 02/20/18

Coming up in the next {{countdown}} {{countdownlbl}}

Coming up next:



Skip to this video now

Now Playing:


Related Extras
Related Videos
Video Transcript
Transcript for The Force of Sound: Creating sounds in a galaxy far, far away
It when you're looking for sounds. I think what works sometimes is actually having a sound that you know what a report from it makes you believe. In the creature that you're seeing. The questions that I get asked notes when they do this job is how do you make that sound. How did you get that sound and they think people are often surprised when you say some room we went and recorded these birds. It creates this universe they create this world it allows you to be admirers. In the world that you see on the screen. And sometimes ironically. If the audience is a part of that world they may not even realize what they're hearing. When you work on a film. Especially Star Wars there's nothing more satisfying than getting the sound right. And have been the directors say yes that's a sounded love the sound. We talked to say here is believe it. The sounds that we've put in will often give the reality or the dramatic realities of the that otherwise would be somewhat lifeless. Stop. That's no easy. It. It's so left out. Why is it's a live now. Right I mean. And there's rising. That's no. But now we routed the EU said. We were 79. It's still do hill. And I just physicists discusses the morning Aaron arming not immunity and Korean Peninsula espanola and piano and opera. Somebody just brother just being an. What's so wonderful that sound is that when it's done right in. When is married to the picture into to it people just accept that. What they're seeing it's making so if you're works invisible. That means that you're doing your job properly and that it it's it's actually working. You see this place. She designed. Who honey it's the equivalent of of costume designer. They're not just the one person training although we have a huge team of people that are working on centers and the you're. The person that is creatively dispatched and trusted by the filmmakers ago. I'm looking to feel this emotion here for I want to feel that emotion there. Please make it happen in our view do our. I'd fellow at the sound is that a motion we're like. Sub conscious. For somebody not to use that word I think. Of the scene and because you can't see it you hear it and that as a pure feeling. We can get away with things to convey emotion that that visuals can't you know we can out sounds that are. That are in the glue that it didn't it take you back to to feeling like at Star Wars. We get to choose how you want to direct emotional missing through sound and that's a huge. Powerful tool that they can expand something to make it feel bigger than it is. It can make you feel small and intimate if you inherit everything away and taken out sound left of little vacuum. Having new directors and new people come on board like this particular film on the last that I. Ryan Johnson. The first time madam I can just see how excited he was to be able to play and Star Wars universe with our toolbox and here's I'll -- here's our persona here's John Williams already to help you make your movie he's of the tools to make a movie. Sound is still such a mystery to people to the point where it's not even something you'd think about there being an involved process behind. And maybe you've kind of now in the back your head there is really ending like scene was. Folks like Brandon and his whole team and Matt woods and what they actually do to create these sounds. It's magical and cementing. God can do because I'm some billionaire you for I can't expect. So that's the job of dishonest manner. I've been doing police since 1978 and still here. It's evolved in the way things are recorded at our job is pretty much the same in fact they seem to BA's asking for more. Fully it is. A very specific almost sound Hulu it's all crafted and made individual for the movie that were working on it's like tunnel radio play you have a whole roomful of props. As dedicated Foley artists and record us and mixers and putting this track together and they've got a month or so. To come together and build this collusion it's kind of stick into the soundtrack to make it real. Merge you're gonna do Chris the foxes. OK and there's four around mean five seconds then stops. We'll do headfirst. Ready yet figure. Artists are running your agent crying it's a slot and be Munich a he got. Perfect it's great so this is our friend BBA. And it doesn't look like much but. This hasn't really they sound that's pain of not quite super how loud not really he can it. Heavy. And very differently they really want to commit either friendly friendly right. So we have a sound that I take this very heavy buying granite or. And it roll him. And that's just one of the sounds for BP if and when he's rolling along. 200 Roland. Earlier brawl on rhetoric and are you want him there will do the fifth inning BBA. It's fantastic. It's great I've had a lot of experience in the world of Star Wars. It's been pretty exciting too. Feel like I have a good handle on what kinds of sounds work in the realm of Sturm. Are you guys are ready to do you a taking these seniors yeah operated. It's just really really happy to work with these guys Lennon. Statesman if. Believe it or not this is our millennium falcon it's an old path the pizza stone. And depending on the amount of residency or. Whatever we different metal. Pieces and that's it for. So rang twice and our sound editors won't go through and helped design and the big ticket items you known ships and creatures ambience isn't machines and those will all be cut and edited together but then there's all the very specific. You have to cloth and you have. The gear on on characters handling a light Saber deviate rolling around them and all these things that have to be made. The morgues are very bird like but they're little web TV are bigger these. Gloves seem to work. The best. So that would be the feet. Some feathers here for the wings the moves may be very small but we do all of them when someone asks me at. IG light sabers but they sure do and they pick them up and they put them down what I have is an air has done. Yes blue metallic piece which I'm not exactly sure what it does I am really hoping to learn Monday what it when it does. Ands. At attracts. But it soon run they were gonna do you deviate rolling your Brian rose and send. I think but we're gonna start to coin rolling off camera. I get ready (%expletive) I agree and it's due bunch of tracks to make it sound like Hitler coin struck but it. And then just one more. Will triple Xperia. Fantastic perfect. The main town of all of the court. Casino scene are actually. Old marina casino. Tabs from like a teaching and then just help out with some of the frequencies and some of the and the kind of movement of them rolling around is because they're so two dimensional. A little bit actual poker chips. A little. Teaching here accept others. And it's Spain it's not an. Frank are now lions team have done fantastic work for us on Star Wars over the years and they're so excited doing and I'll come down don't show me exactly what problems they're using to build something him. And they've got a passion for it that's incredible. I just adds that in Kansas. To the entire soundtrack. When we got this. Here's. The actual production. And it's good news about the people who've been around this is actually the sound. That the microphone picked up at city. Foley. And that she clench. Whether or not we. Need to hear everything we cover everything so for example here's just. This little fellows feet. And characters that are digital artists Foley is a 100% necessary because it gives of weights and had so much for visual effects or maybe I'll now. Here and now the coins that national hunting. Performing. We added a little bit of reverberation or make it feel like you're in the space. Sounds like you're in an Iran. Here's adding the movement deviate. You might everyone else and and then he also funny about deviate too is that. You'll notice that amount a lot of those sounds are not actually. Both calls and a way it's not like us as the suns probably you've created so much character inaccuracy of avenues to if you need to make. And half character just through destroyed motors we don't I don't talk call upon but the fact it has motors. Are almost as voice and land it conveys emotion yeah and John Borland actually cut those for us here is deviates moist. For our. I am. More are. All and was cute about that its he's it's almost like this needs you think. Acts you. More are. Muslims it's almost like easing who are you here is the sound. And I. I've actually got layered on top of the angry don't play about so sometimes we two sounds. Lumber when one member isn't enough we have African group who we had to here's just the sound effects. If you don't. Who. Yeah yeah yeah. Here's you have to backgrounds by themselves. And then. Here is everything now together in the final Max. And snacks. It's work or home. And I don't. Yeah. Skywalker Ranch. It has it was a mythical place to me. I grew up in the Bay Area so I knew that Lucas film was around. Even so much as when I was a little kid I sent away by a cut out my little Kenner toys pack thing to send away for the bove a fat. Current thinking is George Lucas can openness often send me a figure where is this place. You know as a bit of a computer game browse a kid I was on a little bulletin board system logging on oil motive and talking with. Other like minded computer geeks and I saw a ad for a quality assurance technicians. It was in a posse of California this is an like 1989. And I went to the maps and I found a what was in the cost you know it was mostly like dairy farm and restaurants and then skywalker sound like it's either it's a dairy farm. Or it's going to be scuttled her ass I have put together with matte paint a little Reza may. I asked find out what a shift from the president ever done resident for sixteen years old at that point and he said put some special facts about yourself and I said. Special facts in excellent health living with parents it's. Facts that over the Lucas moments somehow they called me back pick up the job to come in tasks themselves working out here at skywalker and it was actually during. And I still to this day come to work everyday and I know that this is a very unique and beautiful place. There were new things. That Ryan wanted to to have been his film or one of those was be the force connections between Cairo and top rank which were just transmission through space with snow that came about. First and foremost from wanting a sense of intimacy and wanting a sense of ring connect these two through this weird. Interstellar. Walkie talkie forced power. We don't want to be about the effect we didn't want initially to be about the effect. We wanted to just have to be quiet dialogue that's almost transmitting across universe through the force with pre lap and reefer. But haven't you know in your in their heads so that intimacy. Reasonable to me. Don't hear from won't kill him. Can see my surround yeah. I can't see yours. Trust you. He described as I want to feel like I'm in a vacuum my mind immediately went to OK what if and sound managed to split the business. An ice described it to re enacting a used to breed vacuum what I can be many things I think rend and did like his genius sound designer thing where he's tried to think like this split is the sound essence in the vacuum doesn't vacuum sound like. And we went through and hit it where it fell I get back him to meet. But. He is I have Hondas that Phil I got back him yet you know and several one of the back how to bush would. You know and there's a tunnel and. After vacuum need to build is really cool stuff and all this amazing stuff in the thick hat. It's cool that no I mean beans and vacuum like nothing. Like me like nothing goes yeah. Like a vacuum criminals like oh I think you mean by a back and they reach Aaron just pulled the slow later down and we listened to it as like that's that's critical. We start. Picking obvious moments in the film when we have. Multiple moments in the film where we really try to take it down almost of this vacuum in this isolated moment of vulnerability and intimacy with each character ring out then obviously but the very big ones hold a sacrifice the film so bombastic with the noise. That at them largest moment when and general smokes ship is being destroyed by. Hold those. Doing her kamikaze Suffolk run into it there's this huge piece of music that's building a football this tensions building sound pressures building. Cholera and we're fighting over the life favorite films. To have them that's an explosion there just would've been fine the idea to have nothing there was. More interesting and economy to be that he waited for. Remember the first time a solid audience was the premiere at the shrine theater and dance like really excited see what's going to be the reaction there and then as soon as that happened and it goes silent you could hear just. Hundreds of just. We'll. Like gasping all over the theater and I don't know him and just the big boom. This whole thing takes place in like a fraction of a second communicating that it's outside the time this moment. The sound going away for that and then only catching up with us once we cut to that big wide Shah does seem drilling enticing. That's the kind of stuff that when we have new directors and new people coming in. But there are. Stamp on the film and to try out experimental things of me we haven't done before that's where really pays off those moments. That moment where Luke. Reveals himself on crave it's very quiet but it's actually unusually quiet on and off throughout his entire apparition. Form we really didn't go attending Foley's you don't hear his foot falls on the ground and actually visually Iowa and even went to the point of when he turns its feet on assault. And on the planet you don't see. Any reaction from that we cut the Kyle whose. Positioning himself for an attack and you see him smear the red but we did the same thing we had no fully that are. So let's just a very subtle thing but when the debris is falling down Kyl a saver you feel it and you hear it. But it certainly looks like it's nothing on lyrics. We tried that we tried a juxtapose that so they're getting clues as a viewer maybe subconsciously. The silent moments are really. Very great discovery we arrived at. A lot of them in the mix and those. Came from Ryan actually it was a really a fun processing of certain. He was the one who drove it. We get to take credit for that really who in the he did he created. First sound that I was. Asked to work on was the port because of the need to create the sounds the toys to and then asked runners from what you wanted to sound like. I think I said bird lake I think I said. Kind of annoying but not not to and if he had it patent. And he nailed it really really quickly and we just thought well Cisco or courts and birds or some birds with a subject concerned that. So. Korea. I asked her to continue touring going on there and just records and chickens so she didn't. One of the dude sounds and it's really easy is we want to speed things that we. Pastors to hire. You can already hear it starting to sound different. Fell one of the other sounds is. A bird call we had an intern date was working with us last year named nick doctor he's got these Turkey calls. And we think and when we now bring him it. So I recorded him. And I won't did you do something that's like sounds like you're in pain center at he tool what would that be they are paranoid owl so he so. So you get into this little world and it's. Think and see all of that is create all these little tiny bit. In the new. I've also been around film making and and one for some Star Wars came out you know. Being thirteen years old and seeing that likes over and over and over again movie theater you know there's a legacy there and it's an art in naming it like. Thing being a little kid and knowing those sounds I mean their iconic and there's a lot of pride it everyone who who's here who. People to come here war. Working here or who were from out of town Lumix their films you can kind of to appear in trying to. Finish your film and focus on it and I think that that's really special. What's so great about. Would George Lucas has made he loves. Life. And he loves. Beauty you know he wants to keep people have been scarlet or your goal is is used to thresh shoulder cut you're going over the bridge and now you're ended this world you know. It's it's kind of like that the crawl. Star Wars you know and and I think all of this environment. Has the has those touches. When we started mixing Ryan's movie the very first thing. Is that music. The Tom Williams has proposed that the original score from nineteen times have I got the privilege of mixing that he can affect this the very first thing that we did. So on the very first day you know him and we put up the staters. I mean it was incredible it was like it was and wonderful. Feeling to UI in thirteen years old. There are not. It's.

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

{"duration":"26:06","description":"Writer-Director Rian Johnson and the Oscar-nominated sound team of 'Star Wars: The Last Jedi' reveal the secrets used to give life to droids and creatures.","mediaType":"default","section":"ABCNews/Entertainment","id":"53204229","title":"The Force of Sound: Creating sounds in a galaxy far, far away","url":"/Entertainment/video/force-sound-creating-sounds-galaxy-53204229"}