What were director Penna’s initial goals for sound? Those shots can’t be dull you still have to carry the story with sound. In the script there are so many moments dictated by sound - from the bear attacks that hadn’t been shot yet, to the helicopter at the end, to Mads falling into a cave, to long stretches of wide shots where you barely see Mads as he walks from one side of the frame to the other. Hamed Hokamzadeh (HH): I’m a huge fan of MysteryGuitarMan (Penna’s YouTube persona) since his early days so when Joe called us I was thrilled to work with him. Once every ebb and flow of the film was explored, we then went to work on backgrounds, effects and Foley to make the film feel as cinematic as we could. We went through a detailed spotting session to fully understand the journey they wanted the protagonist and the audience to experience. They knew they needed to bring in a sound team early to bring the film to life and really capture the intended tone and experience they had in mind. Thomas Ouziel (TO): We were brought in to work on the film while Joe and Ryan Morrison (picture editor/executive producer/co-writer) were finishing the initial edit.
Thomas and Hamed, when did you begin sound work on Arctic? What were your responsibilities on the film? In addition to breaking down their approach to specific scenes, like the helicopter crash and the polar bear attack, Benitez and Mangini talk about the use of sound as a means to convey emotion, share thoughts on effectively selling ‘silence,’ and explore techniques for making a character sound alone. Then, Formosa’s Benitez and Mangini go into detail on how the final soundtrack was carefully crafted and mixed to immerse the audience in Overgård’s fight for survival. Here, Ouziel and Hokamzadeh discuss director Penna’s initial goals for sound. This early track established a sonic groundwork that supported the story, because with minimal dialogue and music the film needed a solid base of environmental and practical sounds to emphasize Overgård’s struggles. He’s joined by Emmy-winning supervising sound editor/sound designer Odin Benitez at Formosa Group, where they handled Arctic’s post sound editing and final mix.ĭirector/writer Penna worked on the initial soundtrack at Melody Gun in Hollywood, CA with sound designers Thomas Ouziel and Hamed Hokamzadeh. “Honestly, the cold and deprivation and the physical trials Mads went through are a testament to his acting skills as well as his survival instincts,” says Oscar-winning sound designer Mark Mangini, who was the re-recording mixer on Arctic. Penna asked Mikkelsen to trudge through stretches of pristine snow (unmarred by the production crew’s activity), pulling a makeshift sled and carrying supplies on his back. This was no tropical holiday like Tom Hanks endured in Cast Away. The film was shot on-location in Iceland - in real snow with real wind and you can bet it was really cold. Overgård must decide whether to stay in the relative safety of his camp or trek across the frozen expanse in search of help. His situation intensifies when a rescue helicopter crashes during their mission to save him. Mikkelsen plays Overgård, a pilot who survives a plane crash in the Arctic. We will not sell, rent, trade or give away individual personally identifiable information entered on this site to any third party.ARCTIC: A CINEMATIC SURVIVAL STORY TOLD THROUGH SOUND:ĭanish actor Mads Mikkelsen takes on mother nature in director Joe Penna’s debut feature film Arctic - in theaters now. We are serious about protecting our customer’s personal information.
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