Dolby Creator Talks

• 238 - Meet the Nominees - Best Cinematography, Original Score, and Sound - Oscars 2025

  Table of Contents: CINEMATOGRAPHY01:38 - “The Brutalist” - Lol Crawley02:52 - “Dune: Part Two” - Greig Fraser04:36 - “Emilia Pérez” - Paul Guilhaume06:48 - “Maria” - Ed Lachman09:08 - “Nosferatu” - Jarin BlaschkeORIGINAL SCORE10:29 - “The Brutalist” - Daniel Blumberg11:18 - “Conclave” - Volker Bertelmann13:04 - “Emilia Pérez” - Clément Ducol and Camille14:20 - “Wicked” - John Powell and Stephen Schwartz15:39 - “The Wild Robot” - Kris BowersSOUND18:06 - “A Complete Unknown” - Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco19:41 - “Dune: Part Two” - Gareth John, Richard King, Ron Bartlett and Doug Hemphill20:57 - “Emilia Pérez” - Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta22:59 - “Wicked” - Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis24:26 - “The Wild Robot” - Randy Thom, Brian Chumney, Gary A. Rizzo and Leff LeffertsThis past year featured some of the most stunning, innovative, and groundbreaking work in the categories of Cinematography, Original Score, and Sound. And since we’ve been diligently interviewing the artists and teams who have received Academy Award® nominations in those categories, we offer you this special round-up episode — to help give some greater insight into how to cast your final votes. The soundbites in this episode are mere snippets from the discussions we’ve been conducting through the past several months. If you’d like to take a deeper dive:FULL EPISODES, BY CATEGORY:= CINEMATOGRAPHY =“The Brutalist”237 - Lol Crawley and the Cinematography of The Brutalist - Feb 10th, 2025YouTube: https://youtu.be/d342-st5dvgSpotify: https://open.spotify.com/episode/0Txxk3xNAcmItPwsm9GquPApple Podcasts: https://podcasts.apple.com/us/podcast/237-lol-crawley-and-the-cinematography-of-the-brutalist/id1549901182?i=1000690773442“Dune: Part Two”189 - Greig Fraser and the Cinematography of Dune: Part Two - March 5th, 2024YouTube: https://youtu.be/39p8wPkhmtMSpotify: https://open.spotify.com/episode/5WMtD1WbGGVBgrlQtSFzONApple Podcasts: https://podcasts.apple.com/us/podcast/189-greig-fraser-and-the-cinematography-of-dune-part-two/id1549901182?i=1000648108720“Emilia Pérez”220 - The Making of Emilia Pérez - Dec 4th, 2024YouTube: https://youtu.be/VZruPNqHv3wSpotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480“Maria”236 - Ed Lachman and the Cinematography of Maria - Feb 7th, 2025YouTube:

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• 237 - Lol Crawley and the Cinematography of The Brutalist

  Academy Award®-nominated cinematographer Lol Crawley joins us to discuss his approach to "The Brutalist," the epic indie film from writer / director Brady Corbet. Crawley delves into his decision to shoot the film in VistaVision, how it shaped the film’s aesthetic, and his use of practical lighting to create its atmospheric look. He also shares insights into how they executed the film’s many “oners” (one-shot scenes), the challenges of capturing the marble quarry sequence, and how his cinematography reinforces the film’s themes of ambition, displacement, and artistic legacy.“The VistaVision shot… it's a little bit like anamorphic, in the sense of [it capturing] two things in one. You get this intimacy, but you also have this wide field of view. So you see the world, and you see the performance. And I think that's what gives the film a certain grandeur. And its debt to early 50s, 60s American cinema.”—Lol Crawley, Director of Photography, "The Brutalist"Be sure to check out “The Brutalist,” now in theaters.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

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• 236 - Ed Lachman and the Cinematography of Maria

  Academy Award®-nominated cinematographer Ed Lachman joins us to discuss his gorgeous cinematography on “Maria,” directed by Pablo Larraín. The seasoned director of photography shares his approach to blending formats — including 35mm, Super 8, and 16mm — to capture the operatic essence of Maria Callas’s life, as well as his use of color psychology, lighting techniques, and period-specific film stocks to evoke emotion and authenticity."Opera and cinema are very similar… Opera's images are not representational either. Like cinema. And they create the subtext for the emotions of the story. And what helps to create the nonverbal form of communication is the same thing that happens in music of the opera. It's a heightened reality… I felt the film could be a representation if her life, mirrored in the operas that she sang in. And even though people say she was the sum of the tragedies of the opera she sang, I believe she had the resistance and strength to overcome." —Ed Lachman, Director of Photography, “Maria”Be sure to check out “Maria,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

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• 235 - Kris Bowers and the Music of The Wild Robot

  Academy Award®-nominated composer Kris Bowers joins guest host Jon Burlingame to discuss his stunning orchestral score for "The Wild Robot," directed by Chris Sanders. The composer dives deep into how he crafted the film’s sonic landscape, incorporating orchestral textures, electronic elements, and unique percussive sounds. He also shares insights into his collaboration with director Chris Sanders and how becoming a parent influenced his emotional approach to crafting the film’s original score.“Chris [Sanders] talked about the role that music was going to need to play in this film... He already knew there were going to be these long stretches where we would have little to no dialogue. And he was trusting that music could help tell the story in those moments… Because for him, the idea of kindness as a survival technique, that was very, very key to the story... Really this idea of music needing to have this vulnerability, this warmth, clear melodic statements, and then also having the ability to go from small intimate moments to really big, huge action sequences.”—Kris Bowers, Composer, "The Wild Robot"Be sure to check out “The Wild Robot,” now available to stream and on Blu-ray, in Dolby Vision® and Dolby Atmos®.The soundtrack to “The Wild Robot” by Kris Bowers is also available to stream on Apple Music in Dolby Atmos!And don’t miss our previous episode on the sound of “The Wild Robot,” with writer and director Chris Sanders.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

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• 234 - Capturing Wicked's Live Singing with Simon Hayes

  Academy Award®-winning production sound mixer Simon Hayes joins us to discuss his groundbreaking work on “Wicked.” Nominated for his third Oscar®, Hayes shares how he captured live vocals on set, blending the technical innovation with the emotional. He reflects on lessons learned from “Les Misérables,” how he worked seamlessly with the music department, and the intricate process of ensuring performers like Cynthia Erivo and Ariana Grande had the freedom to deliver their most powerful performances while always staying in sync with the film’s score."We had no idea that when Cynthia and Ari sung together, their voices would mesh the way that they did. And something very, very special happens when those two sing together… That first time when I had my cans on, and they were dueting, and the hairs on the back of my neck started standing up, and you get that tingle… You just know, as a sound mixer, 'My God, we've struck gold.' This is something very unique and special."—Simon Hayes, Production Sound Mixer, “Wicked”Be sure to check out “Wicked,” now available to stream at home in Dolby Vision® and Dolby Atmos®.And don’t miss our previous episode featuring Stephen Schwartz and the music team behind “Wicked, as well as our episode with Director Jon M. Chu and the film’s post-production team.You can also check out the video for this episode.Please subscribe to Dolby Creator Talks wherever you get your podcasts.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

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