ABOUT

I approach sound from the story outward. Before deciding what a scene should sound like, I want to understand what it’s meant to feel like — what the audience should notice, what they shouldn’t, and what can be left unsaid.

Sometimes that means building an entire world. Sometimes it means removing half of what was there.

The tools change from project to project. The objective doesn’t: make the world believable enough that the audience stops listening to the sound and starts living inside the story.