In the latest episode of Kieran’s Movie Space, Kieran reviews the most recent Netflix movie to consume social media, To All The Boys I’ve Loved Before. Is this a unique and worthwhile romantic comedy? Is it anything more than cheesy and awkward teens falling in love? Find out by listening to Kieran’s spoiler-free review in the player below!
If you like what you hear, it would be awesome if you hit the like/subscribe buttons and drop a comment in the appropriate section.
Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters.
Lara Jean Covey writes letters to all of her past loves, the letters are meant for her eyes only. Until one day when all the love letters are sent out to her previous loves. Her life is soon thrown into chaos when her foregoing loves confront her one by one.
Directed by Susan Johnson, To All The Boys I’ve Loved Before stars Lana Condor, Noah Centineo, Israel Broussard, Janel Parrish, John Corbett, Madeleine Arthur and Emilija Baranac.
New Mutants: Dead Souls #6 is out today, ending the already wonderfully strange story in even weirder fashion that anyone was probably expecting.
Everything comes to a head as Magik confronts Shan on her true motivations. The book is written by Matthew Rosenberg, drawn by Adam Gorham, colored by Michael Garland, and lettered by Clayton Cowles.
Author’s note: Here’s all you need to know: after reading the last page of this comic, I exclaimed “WHAT THE F*CK?!” out loud.
The X-Men books are in a renaissance right now, and Matthew Rosenberg has been a huge part of that (along with Kelly Thompson, Tom Taylor, Ed Brisson, and others). He understands these characters on a deep level, and he brings all of that passion to his writing. He’s brought a level of weirdness back to the fringe X-books, and nowhere is that more clear than in his New Mutants (except maybe his Multiple Man).
Rosenberg’s strength is in his character work. He just knows how to write likable, relatable characters. He makes you care, which is why when tragedy strikes, it hurts that much more.
But all of Rosenberg’s work would be for naught without Adam Gorham’s art. Gorham’s style, combined with Michael Garland’s colors, is the right balance of edgy and emotional to deliver the gut punches. It looks like something you’d get in an independent horror comic, but in a mainstream superhero title. And, at the same time, it hits the humor beats just as well as the action beats, creating that quirky tone that makes the New Mutants so beloved.
This series has shown the range and versatility of these characters. It’s been fun, funny, tragic, and complex. Most importantly, it’s been interesting. Issue six hits all of those notes in itself. This is a total cliche, but it’s an emotional roller coaster that leaves you wanting more. Correction, not wanting. Needing more.
With the recent announcement that Rosenberg is co-writing the return of Uncanny X-Men, it’s clear that his New Mutants wasn’t just a fun miniseries. It planted seeds, and fans are going to want to see what those seeds grow into.
New Mutants: Deal Souls #6 is an insane book full of spoilers on every page, so please forgive the vague review. Just make sure to pick it up and read it ASAP before the internet ruins it for you.
As average a character as Eddie Brock is, you forget how cosmic the symbiote is. This is a plot point Mike Costa and Mark Bagley plan to change with Venom: First Host #1, out this week.
Bagley’s clean-cut lines, Costa’s jokes, and Dono Sánchez-Almara bright colors give this book a Marvel Cinematic Universe quality. The first issue sets up the five-issue mini-series very well. The main characters are introduced and there is a hint of intrigue. With four more issues, the crisis has yet to be revealed. The book is well paced and the last page makes you want issue two right now.
When reading comics now, there are so many genres and styles that push the envelope of what a comic book can be that it then becomes hard to critique a formulaic book that feels stuck in the 90s. Venom: First Host (2018) #1 is not great, but it is also not bad. As a person who’s read almost every one of Bagley’s books, I want him to push the envelope with his art. Don’t give the reader Venom from the 90s, I want to see Bagley dig deep and take all that life experience (good and bad), and give us something new. There is a panel in the book where you can see hints of this Venom I speak of, and it is glorious.
There is a different look to this version of Mark Bagley’s Venom, and we need to see more of it.
With that said, I encourage Costa to push the envelope too. This is only the first issue; next week, our minds might be blown away by what Bagley and Costa reveal. That fact that the book is weekly makes me want to read it even more – it gives the book a TV show feel and the seven-day wait builds the anticipation.
If you are a fan of the 90s and Bagely, Venom: First Host #1 knocks it out of the park. If you want something more, you have to wait a week.
Venom: First Host #1
Published: August 29, 2018
Writer: Mike Costa
Penciler: Mark Bagley
Cover Artist: Mark Bagley
Inker: Andrew Hennessy
Colors: Dono Sánchez-Almara
Letters: Clayton Cowles
MIKE COSTA AND MARK BAGLEY REUNITE FOR A VENOM STORY UNLIKE ANY OTHER! Before the AMAZING SPIDER-MAN…before VENOM… There was the FIRST HOST. And that First Host has returned in need of Venom’s help – only by reuniting can the two avert cosmic ruin! Can Eddie and the symbiote trust one another long enough to save the galaxy, or will the FIRST HOST prove to be Venom’s undoing?!
Do you have Venom: First Host #1 on your pull list? Come back and let us know what you think of the book in the comment section below.
Donny Cates writes his best Predator film with Web of Venom: Ve’nam #1, and Juanan Ramirez compliments Cates with high octane action-packed storyboards.
Web of Venom: Ve’nam #1 hits your local comic book store this week, and it should be recommended reading for every Sony executive if he or she wants to expand the Venom Cinematic Universe (VCU).
When Venom first arrived on the scene in Amazing Spider-Man #300, he was a big scary monster that would give you nightmares. Cates has brought back that feeling with a modern, gritty flare. Cates also likes his stories to be over the top insanity, so the addition of Wolverine to the story makes perfect sense.
The plot of the story is straightforward, kind of like the first Predator film. S.H.I.E.L.D. makes a platoon of symbiote soldiers (sym-soldiers), and they go MIA in 1966 Vietnam. Nick Fury has the bright idea to send Wolverine over there to track them down. Needless to say, the last 25 pages are one giant FUBAR.
The opening three pages would be a brilliant homage to every epic Vietnam war film if they were tripping on acid watching Alien. Cates knows horror and Ramirez uses spectacular angles to amplify the suspense. The camera angle is looking up, so the book feels on top of you, almost suffocating the reader. The blood-soaked pages in Vietnam will be etched in your memory forever.
Felipe Sobreiro’s colors give the book a vintage feel. He also keeps the reader off balance going back and forth with bright and dark pages. It’s tough to judge lettering on a digital copy, but the color combination of the thought balloons didn’t work, the outline made them look like stickers. Clayton Cowles compliments the action sequences with quality fonts for sound effects.
What surprised me was how much of an SOB Nick Fury is in this issue. Cates pulls no punches with Fury and makes him the Paul Reiser of this Aliens story.
Overall, Cates and Ramirez provide a fun story that expands the Venom Universe without hurting it or oversaturating the brand. Put it on your MUST READ list.
Web of Venom: Ve’nam #1
Published: August 29, 2018
Writer: Donny Cates
Penciler: Juanan Ramirez
Cover Artist: Ryan Stegman
Color Artist: Felipe Sobreiro
Letters: Clayton Cowles
SPINNING OUT OF THE PAGES OF VENOM! As the United States of America struggled through the Vietnam War, Nick Fury of S.H.I.E.L.D. needed a secret weapon – and when an ancient creature was discovered at an archaeological dig site, he was sure he’d found it. In reality, the discovery was an ancestor of the Klyntar symbiotes…and would become a waking nightmare for a platoon of American soldiers!
Are you picking up Web of Venom: Ve’nam #1? Comment below with your thoughts.
Pre-bionic arm Misty Knight, Hydra’s mutant genetic hormone, and a tale of respect in this week’s DAREDEVIL ANNUAL #1 as Erica Schultz makes her debut with the Devil of Hell’s Kitchen. Let’s dive in and see how it was!
WRITTEN BY: Erica Schultz
ART BY: Marcio Takara
COLORS: Marcelo Maiolo
LETTERS: Clayton Cowles
WARNING SPOILERS AHEAD!!!
DAREDEVIL SPOILERS TOO!
To see what happened the last issue, click on the writer’s name below.
Summary
This annual is a simple tale of when Misty met Matt Murdock, but as Daredevil. The story opens with Detective Misty Knight working the streets as a body falls on her car from a building above. After tracking down the perpetrators responsible, Detective Knight finds Daredevil trying to stop the two criminals. Of course, Misty and Daredevil don’t see eye to eye, and the Devil of Hell’s Kitchen manages to escape without getting taken into the station.
Later, readers find out that Frankie Fear, one of the perpetrators, is dying and wants to create a formula that will save his life. So, he’s been kidnapping ESU students and forcing them to make a serum. As fans would expect, Frankie takes the formula and hulks out into a huge monster leaving Misty and Daredevil to take him down. The Devil and Detective work together, lock up Frankie, and Misty gains Daredevil’s respect by the end.
The Goods
Schultz’ debut on DAREDEVIL had a couple of good bright spots to highlight. Schultz’ story had an element of simplicity that was refreshing and down to Earth. Often, comics tend to step WAY outside the box to grab the readers attention. However, Schultz made this issue more of a detective story with shades of crime drama, kidnapping, and murder mixed in. Misty had to find the killer and work with a vigilante, who she didn’t trust, to solve the investigation.
In general, Schultz’ plot was clear and uncomplicated, which isn’t a bad thing. Now, the story dipped into the ”super” realm once Schultz explained to fans that Frankie Fear needed Mutant Growth Hormone (MGH) to attempt to cure his cancer, but the story didn’t get nuts until the end. Plus, the ending wrapped up well, and the story ultimately showed Misty beginning to accept and respect Daredevil, which was a great plot thread to wrap around from the start of the issue.
The Art
Marcio Takara did a fantastic job showing movement throughout the issue. Every punch, kick, leap, and 5-foot fall emphasized directions and force in each motion and panel. Also, Clayton Cowles letters showed impact, intensity, and anger behind all actions throughout the annual. Furthermore, Cowles lettering led the reader perfectly from panel to panel while Takara emphasized the characters movements by focusing on the interactions between the heroes and villains while dropping out the background to concentrate on the important elements of each fight. Overall, the art contributed to Schultz’ story and complimented the annual well.
Should you buy this issue and/ or add this series to your pull list?
Annuals are generally difficult to get into because often, they are separate, stand-alone stories that have nothing to do with the current overall arc. Also, Charles Soule has been killin’ it with his run on DAREDEVIL telling some crazy-awesome stories. Therefore, Schultz had an uphill battle to grab the readers attention in the first place. The issue told an entertaining story, but it was basically, a one-shot taking place in the past that doesn’t affect the current run at all. If you don’t buy it, you aren’t missing anything from the overall story.
If you do buy it, it had some cool moments, but I don’t know if it’s necessarily required. Even though the story was a refreshing change of pace, nothing stood out as exceptional. However, this shouldn’t sway you from adding DAREDEVIL to your pull list. Overall, Soule’s run has been stellar. So, save the money this week but add DAREDEVIL to your pull list going forward. If you need proof, take a look at my last couple reviews of DAREDEVIL. Soule and Phil Noto are doing amazing things with the character right now.
What did you guys think of Book DAREDEVIL ANNUAL #1? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, click HERE!
The ramifications of the previous episode of Gundam Build Divers are shown in detail and it is slowly helping to rebuild the quality of the entire series.
Summary
As the Build Divers search for Sarah, Riku is cornered and is forced to battle the Orge.
SPOILER ALERT
Review
It’s hard to believe just two episodes ago this series had hit such a low point. The series has decided to put out all the stops and ensure the plot has consequences moving forward. All of GBN knows Sarah is the cause of the recent bugs and has essentially branded her public enemy number one.
The most compelling aspect of this twist with the plot is how everyone reacts to it. Though many are sympathetic to the plight of the Build Divers for their comrade, others know Sarah is a danger to the network. Instead of simply having a wrong or right side to this argument, a lot of deeper elements are addressed and the discussion isn’t as cut and dry as one would think it would be.
The rematch between Riku and Orge also lives up to the hype and seems to channel some of the more intense fight from back in Gundam Build Fighters. Both combatants fight to the fullest with Orge intent on discovering if Riku is a worthy opponent but Riku himself more worried about finding Sarah before anyone else does. This battle felt intense and wat only part of the great draw of the episode but not only reason worth watching it.
With only three episodes to you, the series is buildings towards a great ending. Keep it up Gundam Build Divers. You might just be able to secure an above average or maybe even very good rating as a series.
Gundam Build Divers is Streaming on The GundamInfo YouTube Channel.
According to USA Today, Baldwin has departed Joker citing a scheduling conflict. The veteran actor made it clear that someone else could take on the role no problem saying, “I’m sure there are 25 guys who can play that part.”
Following Baldwin’s casting, news came that The Lord of the Rings actor Viggo Mortensen passed on the role of Thomas Wayne. It’s unclear if Warner Bros. would reach out to Mortensen’s camp again to fill the void or look in another direction.
Are you disappointed that Alec Baldwin left the project? Let us know in the comments below.
Yes, you read that headline correctly. According to Deadline, veteran actor Alec Baldwin has joined the cast of the Joaquin Phoenix led Joker film.
Baldwin is set to play the father of Bruce Wayne, Thomas Wayne. He’s said to be portraying the character as a stereotypical 80s businessman in the vain of Donald Trump. Most iterations of the character paint Thomas Wayne as a stand-up individual. The difference with this version will be that the film centers around the Joker, meaning he could see Thomas Wayne in a different light.
Recent years has been a sort of renaissance for Alec Baldwin. He’s earned two Emmy nominations for his portrayal of Donald Trump on Saturday Night Live. This summer he appeared in Mission: Impossible – Fallout as Alan Hunley reprising his role from Mission: Impossible – Rogue Nation. Baldwin will attempt to keep the momentum going as he portrays the father of one of the most iconic heroes of all time.
The cast of Joker has many speculating that the film could get Oscar buzz. Baldwin joins the previously mentioned Joaquin Phoenix, Robert De Niro, Deadpool 2 star Zazie Beetz, Glow standout Marc Maron, and Frances Conroy. Todd Philips of The Hangover fame is directing the project with Hollywood legend Martin Scorsese attached to produce.
Joker will take inspiration from classic films such as Taxi Driver and The King of Comedy. The film will see the Clown Prince of Crime go down the dark road that leads him to become the villain we know and love. Don’t expect this version of the Joker to resemble anything we’ve seen on film before. Joaquin Phoenix has promised his version of the character will differentiate itself from what we’ve come to know.
Bond fans were surprised when it was announced on Twitter that the Bond producers, Daniel Craig and Danny Boyle had parted company over creative differences. Rumors of disagreements range from casting decisions to Boyle planning to kill off Bond.
The Bond 25 gig is one of the most sought directing jobs at the moment, and directors like Edgar Wright and Jean-Marc Vallée have been linked to the position. The British bookmakers William Hill have come up with a list of directors who they think could take the job, – so let’s look at who they picked, and whether or not each filmmaker would be a good fit and if they have a realistic shot becoming the director of Bond 25.
Steve McQueen – 14/1
Bringing up the rear is Steve McQueen, a good outside bet and properly more likely to be offered the Bond gig than some of the other directors on this list. McQueen started his career as a video artist and made his name with dramas like Hunger and Shame and his historical drama 12 Years a Slave won an Oscar for Best Picture.
McQueen’s films are known for having great acting, Michael Fassbender and Chiwetel Ejiofor were nominated for awards for their performances and his greatest ability as a filmmaker is his long takes. Hunger had a terrific scene of two people simply talking, Shame had a jogging scene where Fassbender runs in an empty New York, and 12 Years a Slave had the powerful whipping scene. It would be something if McQueen could do something similar for a Bond action scene.
Due to McQueen’s background as an artist and dramatic director, he does not seem like the most obvious choice, but he was shortlisted to direct The Hunger Games: Catching Fire, and his next film is set to be a female-led heist film that will premier at the Toronto Film Festival.
Ridley Scott – 12/1
Ridley Scott is one of the most prolific directors working and even though he is 80-years-old does more work than filmmakers half his age. He has some of the greatest sci-fi films of all time like Alien and Blade Runner. He has experience in the war, crime and spy genres with Black Hawk Down, American Gangster and Body of Lies to his name.
But Scott is a hit-and-miss reputation – as well as making great films he has made some stinkers. In recent history, he has made The Counselor and Alien: Covenant.
Scott would be perfectly capable of making a Bond film especially with the action sequences, but Scott’s placement by William Hill is a case of the bookmakers picking a big name for the sake of it. It is unlikely he would even be approached to direct Bond 25, let alone take the job. Save your money.
Paul Greengrass – 10/1
Paul Greengrass is best known for directing three films in the Bourne franchise, and that is the main reason he is considered a possible Bond director. Beside from his Bourne films, Greengrass has made some excellent true-life films in the form of United 93 and Captain Phillips.
But there are some significant reasons why Greengrass won’t be considered. Back when he was promoting Jason Bourne Greengrass stated he would never do a Bond film and his Bourne star even called Bond an ‘imperialist, misogynist sociopath.’ Greengrass also inject his political beliefs into his movies and the Bond producers will never let him do that with Bond franchise. Finally, Bond fans wouldn’t want Greengrass to direct because of his incomprehensible shaky cam.
Kathryn Bigelow – 10/1
Ever since making The Hurt Locker Kathryn Bigelow has been a fan choice to direct a Bond film. Bigelow is one of the few female directors who has made big-budget movies, and she would be a good fit for the Bond series. Her films The Hurt Locker and Zero Dark Thirty show she can make compelling films that touch on contemporary issues and she favors using practical effects over CGI.
However, some issues prevent Bigelow from being a favorite to take the gig. Since her Oscar win Bigelow pretty much has a license to make any film she wants, and she followed The Hurt Locker with Zero Dark Thirty and Detroit. It would be unlikely she would make a Bond film considering the demands from the producers and Daniel Craig. The other issue is Bigelow’s nationality – the Bond series has avoided hiring American directors. The closest an American has come to direct a Bond film was Brett Ratner who Pierce Brosnan lobbied to direct Die Another Day, but the producers rejected him because of his nationality.
Martin McDonagh – 8/1
British-Irish writer/director Martin McDonagh is a filmmaker who has the potential to make a great Bond film. Starting his career as a playwright, McDonagh made his name as a filmmaker with the dark comedy In Bruges and his recent movie Three Billboards Outside Ebbing, Missouri was an awards darling.
McDonagh’s films are known for quick, witty director, some politically incorrect humor and being able to blur the lines between comedy and tragedy. His movies also have terrific performances, and McDonagh has worked with some big-name actors like Colin Farrell, Brendan Gleeson, Sam Rockwell, Woody Harrelson and mostly importantly Frances McDormand who won a Best Actress Oscar for her performance in Three Billboards Outside Ebbing, Missouri.
At 8/1 McDonagh is worth a punt.
Danny Boyle – 8/1
Considering how Danny Boyle lost the Bond gig it be would improbable if he got rehired. And if the rumors are true that Boyle planned to kill off Bond, there would be an uproar from the fans.
Christopher Nolan – 8/1
Like Bigelow, Christopher Nolan is a fan favorite to direct a Bond film, and Nolan was influenced by the Bond series. He stated that On Her Majesty’s Secret Service was his favorite Bond film and the series has affected his action scenes. However, like Bigelow Nolan would be a director who would demand a high level of creative control and he would more likely direct Bond 26 and set the groundwork for a new Bond.
Sam Mendes – 7/1
Sam Mendes directed the previous two entries in the Bond series, the fantastic Skyfall and the letdown that was Spectre. Back in 2016, he ruled himself out of directing Bond 25 and considering the lukewarm reception to Spectre the producers will properly feel the series needs some fresh blood. Plus Mendes is attached to a couple of other films, 1917 and The Voyeur’s Motel.
Yann Demange – 6/1
Before Danny Boyle was hired by Eon Productions, they had a shortlist of directors which included Yann Demange. Demange is a French national who has worked predominately in the UK – working shows like the Charlie Brooker scripted Dead Set and crime series Top Boy. Demange indeed made his name with the historical thriller ’71, a film where a British soldier is caught up in The Troubles when serving in Northern Ireland. ’71 earned a lot of praise and Demange won a BIFA for best director. Demange’s next film is the ’80s set crime-thriller White Boy Rick.
Demange is clearly a talented director and has the potential to have a great career. Because he is a relative newcomer, Demange wouldn’t have the clout of other directors on this list and wouldn’t be able to challenge the producers as much.
Denis Villeneuve – 4/1
French-Canadian director Denis Villeneuve is another favorite of fans to direct a Bond film. Since Villeneuve started making English language films he has made some critically acclaimed thrillers and genre films. The main reason Villeneuve is considered a possible Bond director is that of his work on the Mexican set crime thriller Sicario and like many other directors on this list he can get excellent performances from his actors. Villeneuve is also known for his intricate plotting and fantastic cinematography – he often works with Skyfall cinematographer Roger Deakins. Villeneuve did the impossible, he made a great sequel to Blade Runner, 35 years after the original was released – it was one of the most beautiful looking films of 2017.
However, Villeneuve is currently attached to direct a new adaptation of Dune, making it unlikely he would be able to direct Bond 25 and like Christopher Nolan would more likely direct Bond 26.
David Mackenzie – 3/1
The favorite according to William Hill is Scottish director David Mackenzie. Like Demange and Boyle, Mackenzie was on the same Eon shortlist. Mackenzie had a respectable career in the UK, making films like gritty dramas Perfect Sense and Starred Up and he blew up as a directional force with the neo-Western Hell or High Water which earned him an Oscar nomination. Mackenzie’s next film is the historical epic Outlaw King which is set to open the Toronto Film Festival and be released on Netflix.
Mackenzie would be excellent for a Bond film, and he deserves to be one of the favorites to direct Bond 25. His placement is more realistic than some of the other directors on this list. He could keep the gritty look and tone of the Craig era Bond films and still be able to provide some stunning visuals and action sequences.
In the latest episode of Kieran’s Movie Space, Kieran delivers his full (spoiler-free) review of Mila Kunis and Kate McKinnon’s new spy comedy, The Spy Who Dumped Me. Is this a comedy worth your time and hard earned cash? Do Mila Kunis and Kate McKinnon make a good comedy duo? Listen to the review below and find out!
Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters.
The Spy Who Dumped Me tells the story of Audrey (Kunis) and Morgan (McKinnon), two best friends who unwittingly become entangled in an international conspiracy when one of the women discovers the boyfriend who dumped her was actually a spy.
Directed by Susanna Fogel, The Spy Who Dumped Me stars Mila Kunis, Kate McKinnon, Sam Heughan, Ivanna Sakhno, Gillian Anderson, Justin Theroux and Hasan Minhaj.
Make sure you hit the like button, subscribe and review the podcast! Alternatively, you can subscribe to the Monkeys Fighting Robots newsletter to be notified when new episodes are available, plus amazing content!
As a musician dealing in electronic sounds, Joseph Fraioli is no stranger to science fiction-like soundscapes which made him a perfect fit as sound designer for the upcoming sci-fi film Kin about a boy and his awesome, artificially intelligent alien super-gun.
Monkeys Fighting Robots spoke with Joseph Fraioli about his life in making sounds, Kin, and the awesome power of Jurassic Park.
The Road to Sound Design
“I got into sound design through releasing electronic music. Back through my teens and early 20s, I released experimental electronic music under the name Datach’i. I still release the same sort of experimental stuff. I was contacted by the Museum of Modern Art in New York to work on an installation. It became an ‘ah-ha’ moment that started me on this path of sound design.”
All About Kin
“My relationship with the Bakers, [Jonathan Baker & Josh Baker] the directors goes back a long way. We have a really great working relationship. We’ve done a lot of commercials and short films together. We have a great open dialogue for discussing ideas and coming up with concepts. We had done the short film the Bag Man which was picked up and developed into the feature Kin.”
From Bag Man to Kin “We had the wheels turning on what to do with the story well before the feature film was happening. One of the ideas the Bakers had was that all the technology would be based on magnetism. So very early on I collected different types of sounds that represented magnetism. There’s a different type of energy that’s controlling the systems within this sci-fi world.”
How do you go about making these kinds of sounds? “To do that I used a variety of different methods; from processing organic sounds through digital systems like the Symbolic Sound Kyma or generating electronic sounds on a synthesizer and using an electromagnetic field recorder to capture sounds from different things. I started off with a really cool palette and was able to develop that conceptually into different ideas to help tell the story.”
Working with Mogwai
“In this project, there were a couple of instances that I got really excited about. The composers of the film were the band Mogwai. So we had a couple situations where the sound and music work together almost like one thing. It’s hard to tell where one starts and the other ends.”
How did the music and sound come together? “I made a sound for this one particular scene where I made this sort of electronic sound that would ‘pair’ Eli with the weapon, almost like Bluetooth technology. The gun calls him from a distant place, and he could follow it. Mogwai had taken those beats and used it as a time signature and cue for the what they scored for that moment. It came together beautifully. That was one moment that I was really proud of.”
Joseph spreads the love around “Also, a lot of this stuff comes together … because of the work from everyone from Frank Marrone and Brad Zoern our amazing mixers, and Jonathon and Josh Baker and myself being there and going through in fine detail to make it a cohesive soundtrack.”
It’s All in the Details
“A big part of how I like to work … I feel that the more detail you can add the more you can bring someone into the experience, the more you immerse them. Also, it helps for practical reasons, you can bring someone in with a small sound and then hit them with something really hard and even that much more impactful because your ear is focusing, almost like a lens, on the small sound.
The process for Kin had an essential component for Joseph “A huge part of the design process for me was working with the sound design of the weapon, the ‘block nose rifle.’ It had to, in a lot of ways, contrast Eli our main character and feel very dangerous and otherworldly. But at the same time, it needed to connect to him because there is this artificial intelligence that when it pairs with certain people, it behaves differently. So the technology behaves differently. And I use strange, electronic sounds as cues to the connection between the sci-fi and story elements.”
What Makes Sci-Fi Sounds?
“I used something called an Om Wand, it looks like a sword made of plastic, and it made these low vibration sounds as you swung it around. Hematite Magnets, you can throw them in the air, and they spin around each other and make these interesting sounds that I pitched way down.”
But it’s not all fancy materials or tech but both things “There’s a lot of high-end stuff, but there’s a lot of cheap stuff too. I went to the dollar store and got this breathing tube, it’s actually a children’s toy that makes these ratcheting and whistling kind of sounds. I used that as part of the sound effect for the alien breathers.”
Spread the Love
“There’s a lot of people out there doing great work. I always go back to what first inspired me to make sounds, and that’s the movie Jurassic Park and the roar of the T-Rex. I wasn’t expecting it, and it was so unsettling, but it was so perfect. I saw an interview with the sound designer, Gary Rydstrom and he was talking about how they mixed all these different animal sounds together. I couldn’t believe it. I couldn’t believe someone had that job. Gary Rydstrom is phenomenal. Ben Burtt, the way that he takes electronic sounds, especially in Wall-E, there’s so much emotion and character in each sound. That’s what I aspire to do.”
Thanks to Joseph Fraioli and Impact24 PR for making this interview possible.
