Marty Supreme Sound Editing Interview – Skip Lievsay
- "There's stuff happening beyond [the foreground], and we could never let go of the kind of foundation and the scenery of the dialog."
- “In a scene like the bathtub scene, you have the foreground stuff a little brighter and the background stuff not quite as bright.
- The core layers for the sound team to play with in that sequence were the overlapping, frantic dialogue, the (amplified) bodily sounds that signal Ferrara’s character’s in pain,...
No one wants to get mugged in the Lower East Side – or anywhere else, of course. But sound editor Skip Lievsay acknowledges that the experience of watching “Marty Supreme” can be as abrupt and intense in the very best sense.”It’s a good mugging,” Lievsay told IndieWire.
The re-recording mixer and co-supervising sound editor would know the difference,having worked with both Safdie brothers on “Uncut Gems.” That film is possibly even more blood-pressure-raising than the Josh Safdie-directed tale of Marty Mauser’s (Timothée Chalamet) quest for table-tennis glory and everything that goes wrong along the way. With “Marty Supreme,” Lievsay and the sound team were still responsible,by turns,for grounding and heightening the piece.The scale of the film was simply that much bigger.
say saeid. “There’s stuff happening beyond [the foreground], and we could never let go of the kind of foundation and the scenery of the dialog.”
“In a scene like the bathtub scene, you have the foreground stuff a little brighter and the background stuff not quite as bright. Plus all the water and sound effects, and the poor dog — you never want to lose sight of that dog. That’s what makes the scene whole, this constant reminder of where you are and what just happened and the crisis that we’re in,” Lievsay said. “And it’s such an outrageous scene. It’s realy an assemblage of panic.”
The core layers for the sound team to play with in that sequence were the overlapping, frantic dialogue, the (amplified) bodily sounds that signal Ferrara’s character’s in pain, and then the dog.“You have to make little bubbles of, ‘Here’s some info.’ Timmy says, ‘Let me move that.’ [Ferrara] says, ‘No, that’s gonna hurt.’ Then the dog says,‘I’m still hurting. Please get me out of here.’ You’re just trying to [get the audience to] hear that.it’s a little bit of a 3D chess match, audio-wise.”
It would have to be, for the sound to stay one step ahead of Marty.