Weaving sound design into The Continental's music.
Summary The Continental delves into the origins of Winston Scott, an ally of John Wick, including how he became the manager of the New York branch of The Continental Hotels, a chain of safe havens for assassins of the High Table. Exploring not only Winston's history but the origins of the friendship between himself and Charon as well as other iconic aspects of the John Wick lore.
The John Wick action, and that's something I like to call, it's not a coin phrase or anything, but I personally like to call it precision violence. That is something that... It's articulate. We want each moment to have its own impact and be felt and to do a really good job matching the choreography that's so well crafted, and so we have to be very precise about how we do that, and then on top of it, it's violent. It's a fun violent.
It's got to feel natural. There's additional things we'll do where if the gun shot is really close to the screen, we're hearing the sound as well of just even the trigger, the dry fire of the gun right before the actual shot occurs, plus we'll hear probably a shell eject, and those add a little bit of additional clarity that's right in your face.
The Continental takes place in the 1970s, while the John Wick films take place in the modern day. Are there any other eras of the John Wick universe you think would be cool to explore since you have done the seventies in this world now? Luke Gibleon: That was a lot of fun, especially because sometimes in shows you'll get these needle drops and the inclination will be, oh, turn down all of the effects, just play the needle drop, but Albert wanted it to be so immersive that we spent a lot of time designing sounds to work with these needle drops, and that included pitching things, changing the time and tempo to make sure it would be in sync with the music.
Luke Gibleon: Well, it's all of these little things. Albert love to make a moment out of the smallest things, be it a light switch, be it a transitional moment, taking us from one location to another, one moment to another, so there was this constant, and then the world itself, he wanted it to be, especially New York City, to be constantly active.
That was also part of the challenges involved in needing to conceptualize something that functioned, and the sounds often had to have. They weren't necessarily literal sounds that we were making. They were these subjective sounds, that kind of work like music, these rises and hits and whoosh and other tonal elements that were designing to take us in and out of these places.
The sound of the building tearing itself apart, defensionum itself was this really cool, unique thing that we got to do when it came to using the older, more almost analog, like early digital computers with these cool tubes and liquid that's changing, basically creating this structure that's about to tear itself apart, and that was fun. Living in the world of that is trying to develop these things that all help play a part in creating these spaces and moments.
What was the most difficult episode for you to do for the sound design, and what was your favorite to do, and are they the same?
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