“For me, it’s fantastic. And I love it, to record on set acoustic instruments,” says “TÁR” sound mixer Roland Winke about the experience of recording the orchestral music featured in the film about an embattled conductor (played by Cate Blanchett) preparing for a live performance of Gustav Mahler‘s “5th Symphony.” We talked to Winke, re-recording mixer Deb Adair and supervising sound editor Stephen Griffiths about their work on the film. Watch our exclusive video interview above.
Winke set up a Decca tree to catch “the ambient sound” and “the feeling of this room where the music plays,” in addition to the special sound crew that was on-hand to capture the full orchestra. Adair felt those Decca tree recordings “were instrumental in the final mix because it really did capture the ambience of the room. And that was one thing that was really important to [writer-director Todd Field] was to keep true to the acoustics of each environment that he shot in.”
But music isn’t the only sound element that makes a strong impact in the film. The character of Lydia Tár “encounters the world through sound,” Griffiths explains. That includes “all the subtleties of orchestral performance,” but also “in her daily life, the misophonia that makes her intolerant of the slightest noise. So she’s always kind of slightly on edge in the way that she’s dealing with the world around her.” Griffiths credits Adair with “the very directional nature of the intrusive sound … So it’s very particular where you’re going to hear something in the movie theater.”
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