![]() ![]() ![]() It also enhances the emotion of solitude and intimacy as well as being cinematic. This allows ambience, music, foley, dialogue and design to all feature without crowding the soundtrack. It has a lovely blend of subtlety and mystery which builds to a huge crescendo. JM: One of my favourite scenes is in the forest when Harry retrieves the sword and Ron kills the horcrux. ![]() JK: What was your favorite sequence/character/object to make sounds for and what was your process to create it? We also like to stick with specific design elements like Gringots vault locks or the the door to the Chamber of Secrets, as the fans will know and love these. Spells and charms are an obvious example, so to are the Hogwarts fx (doors, ambience etc. Obviously the score has a considerable influence on how we approach things, defining whether or not tones are appropriate or more gritty, staccato or percussive elements. More often than not we start off with elements from the previous instalment, then tweak them to work in the latest version. JM: Each production of Harry Potter demands it’s own unique sonic requirements but there are always generic sounds which we carry along the way. JK: To What extent is sonic consistency a priority when creating sounds for a film franchise like Harry Potter? He kindly sent me the full Q&A for publishing here on the site, so we hope you enjoy it. Sound designer John Kassab recently interviewed supervising sound editor James Mather about his work on Harry Potter and the Deathly Hallows Part 1. ![]()
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