The annual Mix Sound for Film & TV: Awards Season virtual event takes place January 20, and joining the proceedings for two panels on the sounds and music of Dune are the blockbuster film’s audio team—Mark Mangini, Theo Green, Ron Bartlett and Doug Hemphill—and legendary composer, Hans Zimmer.
In his own panel, composer Hans Zimmer will discuss how he tackled creating the innovative score of Dune.
HANS ZIMMER (Composer) has scored more than 200 projects across all mediums, which, combined, have grossed more than 28 billion dollars at the worldwide box office. Zimmer has been honored with an Academy Award, two Golden Globes, three Grammys, an American Music Award, and a Tony Award. His work highlights include Gladiator, The Thin Red Line, As Good as It Gets, Rain Man, The Dark Knight trilogy, Inception, Thelma and Louise, The Last Samurai, 12 Years A Slave, Blade Runner 2049 (co-scored with Benjamin Wallfisch) and Dunkirk, as well as recent film scores including Wonder Woman 1984, Ron Howard’s Hillbilly Elegy and The SpongeBob Movie: Sponge on the Run. In 2019, Zimmer scored the live-action remake of The Lion King, for which he received a Grammy nomination for Best Score Soundtrack for Visual Media.
In the panel “The Music and Sound Design of Dune,” the film’s audio team—Supervising Sound Editors Mark Mangini and Theo Green, and Re-Recording Mixers Ron Bartlett and Doug Hemphill—will talk with Mix co-editor Tom Kenny about the use of sound, collaboration with director Denis Villeneuve and more in their quest to use audio to support the film’s world building.
RON BARTLETT (Re-Recording Mixer) says, “Having been a musician all my life, sound has always been a huge part of my work and art. Getting the chance to collaborate with great directors and sound editors is a fantastic thing to be a part of. I love being creative and watching a film come together with a great mix!” Ron Bartlett started in the film business in sound editorial working on such films as Die Hard, Total Recall, Star Trek V as well as Beauty and the Beast. He then focused on mixing with Quentin Tarantino’s first film, Reservoir Dogs. Since then, he has collaborated with directors that include Cameron Crowe, Ridley Scott, Michael Mann and Ang Lee, as well as many others. Some of his films include Sherlock Holmes, The Fifth Element, Jesse James, Black Mass and 8 Mile. Bartlett was nominated for a BAFTA as well as an Academy Award for Best Sound for his work on Life of Pi. Additionally, he has composed original film scores and albums. Bartlett has also performed live music in such notable venues as The Whiskey, The Roxy and The Ford Theatre. He continues to use his musical sensibilities in his work as a Re-Recording Mixer.
DOUG HEMPHILL (Re-Recording Mixer) began his career in film as a Mix Recordist on Apocalypse Now (1979). He continued working for Francis Ford Coppola through the release of Rumble Fish (1983), after which he moved to Southern California, where he did field recordings for Gremlins (1984). Over the years, he’s enjoyed collaborating on a wide variety of films as a re-recording mixer, primarily mixing sound effects but also adept at mixing dialogue and music. Features include the X-Men series, Walk the Line (2005), Master and Commander: The Far Side of the World (2003), Life of Pi (2012), Almost Famous (2000), and countless others. He has been honored with multiple BAFTAs, Cinema Audio Society awards, and Academy Award nominations, as well as an Oscar win for The Last of the Mohicans (1992). Originally from Texas, Hemphill’s first job mixing came from Willie Nelson on Red Headed Stranger (1986). Nelson was involved in Farm Aid and knew Doug’s family had been farmers in Texas. He gave Doug his start mixing sound.
MARK MANGINI (Supervising Sound Editor / Sound Designer) is an Oscar-winning (Mad Max: Fury Road) and five-time Oscar-nominated Sound Designer known for films including Blade Runner 2049, Star Trek IV & IV, The Fifth Element and Gremlins. He has spent his 45-year career in Hollywood imagining and composing altered sonic realities for motion pictures.
He is a frequent lecturer, an outspoken proponent for sound as art and a guitarist/songwriter with compositions in sex, lies and videotape, Star Trek IV, Picard and others. He is a member of S.A.G, SMPTE, and ASCAP.
A Boston native, Mangini attended Holy Cross College as a foreign language major but could not ignore his love of film and filmmaking. He moved to Los Angeles in 1976 and landed his first job in the entertainment industry in the sound department of Hanna-Barbera Studios, making funny noises for children’s cartoons at the age of 19.
He founded and ran Weddington Productions, a successful Hollywood post-production sound company, for 25 years. Today he works at the Formosa Group in Hollywood, California continuing his work as a Supervising Sound Editor, Sound Designer and Re-recording mixer.
THEO GREEN (Supervising Sound Editor / Sound Designer) is an Academy Award- nominated sound designer, supervising sound editor and composer. His work on Dune features not only his sound work but also a song composition/performance/production. For the film, he devised not only new instruments, but also an Ancient Bene Gesserit language to create the film’s otherworldly soundscape.
This is Green’s second collaboration with director Denis Villeneuve. For the first, Blade Runner 2049, his sound design garnered Academy Award and BAFTA nominations for Best Sound Editing and Best Sound, respectively, and demonstrated his unique talent for composing with sound. His other works as a composer include The Gambler and House at the End of the Street.
Green was born in Oxford, England, and is currently based in Los Angeles.’