{"id":6623,"date":"2016-04-09T21:32:57","date_gmt":"2016-04-09T21:32:57","guid":{"rendered":"http:\/\/proaudioclube.com\/?p=6623"},"modified":"2016-04-09T21:32:57","modified_gmt":"2016-04-09T21:32:57","slug":"20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight","status":"publish","type":"post","link":"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/","title":{"rendered":"20 Years of Collaborating with Tarantino with Zero ADR: Production Sound Mixer Mark Ulano on The Hateful Eight"},"content":{"rendered":"

Few directors this side of Joseph Mankiewicz are as attentive to the clear, crisp presentation of dialogue as Quentin Tarantino, giving the always important role of production sound mixer even more weight on his sets. Since Jackie Brown<\/em> in 1997, Tarantino has relied on Academy Award winner (for Titanic<\/em>) Mark Ulano to capture his production sound. Tarantino\u2019s latest, The Hateful Eight<\/em>, represents some of Ulano\u2019s finest work to date \u2013 which is saying something considering that he has over a hundred credits to his name, including The Master<\/em>, Iron Man<\/em>\u00a0and Inglourious Basterds<\/em> (for which he was nominated for another Oscar). The ensemble Western layers one exquisitely recorded and mixed dialogue track on top of another to create a tapestry of badinage that\u2019s distinct yet full of complexity and nuance \u2013 actors like Samuel L. Jackson, Jennifer Jason Leigh, Kurt Russell, and especially Walton Goggins turn in the best performances I\u2019ve seen on an American screen this year, and their work couldn\u2019t be better served by Ulano\u2019s aural presentation. The clarity and sonic texture is all the more impressive given the challenging conditions shooting a period Western in snow-smothered Telluride, Colorado. On the eve of the film\u2019s release, Ulano took the time to answer some of my questions about his work; I started by asking how early he comes on board a typical production.<\/p>\n

Mark Ulano: <\/strong>It\u2019s different each time, each production. When it\u2019s a filmmaker like Quentin \u2013 well, there are no other filmmakers like Quentin, but in Quentin\u2019s case it\u2019s very early on. With him there\u2019s almost always five to eight months lead time: they have a target date for when they expect to begin, and someone air drops me a script wherever I am. But I\u2019ve been brought on to a project as late as three days before. So the range is from no time at all to an enormous amount of time, and everything in between. Obviously for me the prep is a key piece, but that prep actually starts with the script. When I have the script I\u2019ll read it three times. I\u2019ll dive in to the journey by reading without interruption and not for technical, to try and experience it as an audience member or somebody reading it as literature. Essentially to immerse, to get inside the head of the project and the head of everybody else who\u2019s prepping this, so now I\u2019m in that special vocabulary of the movie based on what\u2019s been put on the page. I\u2019ll let that sit for a couple of days and then I\u2019ll read it again, and analyze and find all the details that even glancingly indicate some interaction with the sound aspect of the project, logistically. Then I\u2019ll go develop a Q&A for myself and others, and try to be politically correct about who I can talk to about what, when. Many things are raised as questions that are way beyond the as-yet undeveloped anticipation of everybody else working on it. There are some directors, if you ask them a core question too early on, they\u2019re going to be upset because you\u2019re asking them something they haven\u2019t even gotten near. You know, they still haven\u2019t cast their lead, they\u2019re fighting over the script, the studio\u2019s giving them hell over the budget and all that, and you\u2019re asking them, \u201cAre you doing this music live or playback?\u201d You don\u2019t even want to trigger that because you\u2019re in the early stages of building trust. So I develop that, I talk to all the other parties that I can \u2013 department heads, production, whoever \u2013 and then I\u2019ll have that private list of questions that are not yet ready to be asked but are still very obviously necessary to answer. Then that will lead up to the later stages of pre-production, including the production meeting where we get to explore that collectively as a group because there are a lot of things that are interactive. This affects me, but it also affects sets, lighting, camera, and wardrobe, this one question overlaps all those things. And so we\u2019re all in a room at one time. There\u2019ll likewise be a prep meeting with post-production where we\u2019re either in workflow conversations or, more importantly to me, we\u2019re in a creative conversation that\u2019s not about sampling rates and time code and all the more yawning, boring, not-creative stuff, but what are we doing? How are we going to make this movie? What are we going to do about the design, how it sounds, what do people feel when they hear it?<\/p>\n

Filmmaker: <\/strong>What kinds of conversations do you have with Tarantino after you read the script?<\/p>\n

Ulano: <\/strong>One of the great things with Quentin is that he doesn\u2019t even really get the pre-production roadshow going until he\u2019s really got the script nailed down. He may spend anywhere between a year and longer, he might have a draft and then leave it alone and come back, but there\u2019ll be a moment when you get this package in your mail that\u2019s got his handwritten cover and that\u2019s the starting point. Now I have a sense and I can start building my questions, and my next step from there is actually not to Quentin. I\u2019ll touch base with him and express my emotional reaction and my feelings for the piece, and so far that\u2019s always been a positive one, because his work is unique and it\u2019s not everyone\u2019s cup of tea but it\u2019s something I find fascinating. Nobody\u2019s got his voice in movie making. I make my own films and I know it\u2019s hard to have that dead-reckoning capacity to always have your own voice clear and central, and it\u2019s his special gift. So there\u2019s that, and then I will reach out to Wiley [Stateman, supervising sound editor] and Mike [Minkler, sound re-recording mixer], and have the creative sound conversation about, \u201cWhat do you guys think? You know, this strikes me in this way, I\u2019m thinking of going at it in that way, or do you have an idea\/need\/preference\/suggestion?\u201d There\u2019s no hierarchy in that conversation, that\u2019s just partnering creatively. It\u2019s sort of like storyboarding for sound. It\u2019s a conversation that\u2019s tied to the material.<\/p>\n

After that, I\u2019ll set that down and now I\u2019m into the logistical. Okay, what\u2019s really needed to do this \u2013 tools, nuts and bolts, issues indicated in that second reading; sets wardrobe, construction, special effects, editorial, transfer of the lab\u2026you know, all of the things that have countless variables, but you kind of have to nail each one down within a certain range, because unknowns can turn into disasters without some sort of connection between parties who are responsible.<\/p>\n

Filmmaker:<\/strong> What does your gear consist of?<\/p>\n

Ulano: <\/strong>I bring everything every day. It\u2019s something I learned, and if it\u2019s a Quentin movie I bring a third more. It\u2019s like asking a cinematographer, \u201cWhat\u2019s your favorite lens?\u201d Well, what\u2019s the shot? What are we doing? He\u2019s going to bring an entire complement of lenses because they all have specific attributes for a particular solution. I\u2019m the same, I bring a broad palette of tools, of microphones and mixers and acoustic treatment. A thirty-foot trailer is basically what comes with me. It\u2019s filled with gear, and that\u2019s always the second conversation when I\u2019m doing a movie with Quentin, particularly overseas and [when] the producer\u2019s new with him. He\u2019ll ask, \u201cDo you really need all that stuff?\u201d Have you worked with Quentin before? The answer is yes, because he will pull things out at the last second that require a creative response, not an \u201cOh, I didn\u2019t know you wanted that.\u201d That\u2019s not acceptable, \u201cno\u201d is not in the vocabulary. On Kill Bill<\/em>, there was a scene where Uma was going to wear a helmet and have this electronic sound \u2013 well, he thought of that about 30 seconds before we were going to roll, and next thing you know we\u2019re pulling through the piles to create some kind of voice-affecting electronic sound because this is an opportunity to create something. Not to say no, but to find an answer. If it\u2019s not perfect, so what? We\u2019re riffing. We\u2019re in this, and we didn\u2019t go negative. Going negative is so blinding, it freezes you and locks you out from better solutions.<\/p>\n

Filmmaker:<\/strong> What are your some of your specific go-to microphones or other essential pieces of equipment?<\/p>\n

Ulano: <\/strong>The tools I use a lot \u2013 and microphones to me are like lenses, it\u2019s not a perfect analogy but they have different characteristics that are specifically suitable to different kinds of voices or can emphasize or deemphasize certain things in people\u2019s voices \u2013 Sanken, boom mic CS-3es, Danish DPA microphones, I also use German Schoeps microphones and Georg Neumann microphones. My mixing panels, there are a lot of different things, but as of late I\u2019m using Yamaha. I remote a lot of capability \u2013 for example, in this movie I needed to be able to keep the main kart in an environmentally stable situation because of the hot and cold. That meant I needed to have it somewhat remote from the set and then I have a little cat5 cable that\u2019s running to the set in another, smaller kart at the set that\u2019s basically a two-way communication to that. I can put everything into that and send it up to me. The wireless is received in there, and it\u2019s basically a way to remote the heavy gear from the physical set so it doesn\u2019t clog up the set. On this set there was very little room to be anywhere because of the big frames and also the need to put everything in those little spaces whether it\u2019s lights or people or whatever. It may look like a big, spacious space, but everyone\u2019s scrunched in behind the camera, like a clown car.<\/p>\n

To achieve a minimal footprint on the set is the goal for me because I like to be relatively low profile. The more I can do that, the more weight is attached when I need to bring a subject into the conversation because it\u2019s clear that it\u2019s meaningful. I don\u2019t bring it if it\u2019s not meaningful. If you do that every day it\u2019s sort of a \u201ccry wolf\u201d thing. I don\u2019t pester with the small stuff, I solve that myself or with my team or through networking with others. It only elevates up the food chain if it\u2019s something that\u2019s actually a conflict between elements, which does happen. This element\u2019s really important for the shot, that element\u2019s really important for the shot, and this element is making that element impossible and vice versa; at that point you\u2019re in a director conversation about being Solomon. How do you want to cut the baby in half? Which priority do you have for this particular moment? You can\u2019t assume one way or the other; you have to bring that as an option. You can never walk away silent about a vulnerability to the director, that\u2019s an absolute breach of trust. Even if it\u2019s a really terrible conversation that you really don\u2019t want to have, the not having of it is inexcusable.<\/p>\n

I know that\u2019s not a very technical response but the reason is that the work we do is more about the filmmaking than it is about the hardware. Those are hammers and nails \u2013 what\u2019s the music? I push on that a lot. I get a lot of phone calls from friends, saying they\u2019re doing a small project and what\u2019s the best microphone to buy? I always say, there are a lot of microphones, but if you care about getting sound that works for your movie get a skilled, passionate practitioner who is dedicated to nothing less than getting you every bit of sound you need for every shot, every day. Because that brain that\u2019s doing that for you, like your DP, has got a singular and focused mission to protect your project to be its best. It\u2019s not about a piece of gear that\u2019s inexpensive, or smart, or can do a lot of things, it\u2019s about the filmmaking. It\u2019s about knowing what you need to get out of it with the best you can. It doesn\u2019t always sell, but that\u2019s really the right answer.<\/p>\n

Filmmaker: <\/strong>How has your job changed as technology has evolved?<\/p>\n

Ulano: <\/strong>The learning curve is much greater, and much more fluid, and much more frequent. My $30,000 mixing panel from 1987 had a 12-page instruction manual. My $5000 digital panel from 2010 has a 400-page manual. It\u2019s a constant state of studenthood that\u2019s impacted by the flow of changing technology that becomes available to us as tools. As far as the filmmaking, I\u2019m still deeply invested in the issue of character and making a track that reflects the character as a person, or how we experience the emotional content of the character\u2019s interactions with others. It\u2019s really something I strive for, because the human voice is a musical instrument. What is communicated by how people speak and how we experience their speaking is very subtle and very complicated, and it\u2019s one of the actor\u2019s most resilient yet complicated tools. I am a devotee of trying to understand that and get what they\u2019re doing, and have that happen for others later. For me that hasn\u2019t changed at all.<\/p>\n

You\u2019re obligated to know what the post-production team is able to do; you need to know their tools, to calibrate the kinds of choices you make. You might get over-focused on an irrational fear of damage in an area that is of no consequence and is easily solved, and the reverse is true. You may make an assumption that this is okay, no problem, when in fact you\u2019ve just invested in a total disaster and told no one about it, and they\u2019re going to be into a huge nightmare of trying to solve or replace a thing because you weren\u2019t educated enough about your craft. So today on Pro Tools, or whatever workstation, things still begin and end somewhere. They still have a spatial and volume relationship with all the other things adjacent. They still need to be integrated in that storytelling in a way that we experience a character as a character, and that the story is untouched. That part really hasn\u2019t changed much. I think the framework on which films are made and the creativity and new ways of how to make films is always changing, always growing\u2026but that central piece of being committed to the storytelling whatever that is, and the characters whatever they are, I don\u2019t see that having changed one bit over technology.<\/p>\n

Filmmaker:<\/strong> Tell me specifically how you see your role on set and how you work with the rest of Quentin\u2019s team. Do you have a kind of overall philosophy about the filmmaking process?<\/p>\n

Ulano: <\/strong>I refer repeatedly to my relationship to the project as a session player, as a musician. I have more than one role in a Quentin movie, as I see it. He has a trust team that he surrounds himself with; there\u2019s a group of people that get it all, and then there\u2019s a group of people that actually \u201cdo stuff.\u201d I\u2019m part of that second group. We do stuff. The cinematographer, the sound mixer, the script supervisor, the set dresser, the wardrobe\u2026they physically transform innocuous and unnamed materials into finished results before your very eyes. It\u2019s like magic. And it\u2019s performance art. So my presence on set is first and foremost is to achieve that, but my philosophy is to do that with minimal fuss and self-promotion; to do it with grace and invisibility and integration with all the other things going on at the same time, and to make sure you\u2019re there as a spiritual support for the process. We\u2019re here, we\u2019re doing this, it\u2019s challenging, isn\u2019t it great? That we\u2019re doing it together and we\u2019re doing it together again, how amazing is that? \u201cDon\u2019t we love making movies?\u201d [to quote]\u00a0Quentin. And that\u2019s not a light thing, that\u2019s a serious thing. Yes, we do. And these are our lives, we\u2019ll do eighty, ninety-hour weeks in the movie business thousands of miles away from our families and people that we love. I see myself as part of that fabric of coherent community. I think when you\u2019re in a film crew and on a film set you have a personal responsibility to support that spirit of community because everyone is on their maximum extremity of effort and that is beautiful to behold, a privilege to participate in, and profoundly expensive to one\u2019s physical and spiritual being. The payoff is that you bring respect to that and contribute. You can\u2019t always be taking from that, you have to be there for others. Help anybody and everybody with whatever needs to be helped with on the set. Don\u2019t have some \u201cthat\u2019s not my job, man\u201d thing. If it means picking up a sandbag or seeing someone\u2019s almost in a dangerous situation or suggesting something\u2026.you have peripheral engagement in the process of filmmaking. When you do it for a lot of years, it\u2019s all this intuition that happens because you\u2019ve physically experienced events on set and you see the interconnectedness of things. You can\u2019t be passive about that, you can\u2019t live life on the sidelines. You have to get into the center of the river, not on the banks because this day comes but once and if you don\u2019t enjoy that with all that you have you\u2019re cheating yourself and everyone around you.<\/p>\n

Filmmaker: <\/strong>Did the fact that The Hateful Eight<\/em> was shot in 70mm affect your work at all?<\/p>\n

Ulano:<\/strong> Yes, it did. Coverage is very different. One of the unique realizations of dealing with such a wide frame is that certain kinds of coverage can be integrated into a single shot. Traditionally there\u2019s a master, single-single, and all of the traditional coverage, but in a wide frame you have a lot of hybridized shots. With Quentin you\u2019re single camera, really single camera, and that\u2019s an economy, not an obstacle. It\u2019s so ironic to me that people look at multiple cameras as somehow a kind of efficiency; in fact many times 30-40% of the time is spent compromising some shots so they\u2019re not damaging some of the other shots. Or we\u2019re doing a wide shot but this is also the lead actress\u2019s close-up, and we\u2019re not optimizing the light for her close-up because we want to get this shot at the same time. So we\u2019ve blown off the actress so that we can get, you know, geography that might be in the front end of the scene for two seconds when this might be the meat of the shot. There are a lot of conventions that are now becoming part of the process. Quentin doesn\u2019t want to have anything to do with that. He wants to do what\u2019s right for the scene. So he comes with a sense of the scene and then shoots that. He comes with vision, and the good directors do. They don\u2019t necessarily only limit to the vision that they started with; they can grow, they can discover, things can happen\u2026but it\u2019s having a sense of that as a craftsman. The widescreen is a different discipline than other formats. If I\u2019m in a close-up, a medium shot, and a wide shot all at the same time, I need to think in terms of that sound-wise the way the cameraman needs to think of that lighting-wise, and the set dresser needs to think of that\u2026everybody\u2019s impacted by the details involved. In 70mm, the detail is enormous! When you see somebody on a big screen in the background, but fully in view, you can\u2019t just have that person sort of, arbitrarily fixed as a prop; that person is interactive with the scene. What they say, what they do, even if it\u2019s just the effects of motion or some comment, that all becomes part of how you\u2019re doing this. So it changes your approach to be more aware. It\u2019s not unlike a play, because now we see it in proscenium. That isn\u2019t to say that there isn\u2019t traditional coverage, because likewise with a widescreen the close-up has a whole different kind of impact because now you\u2019re inside the spirit of that person. Samuel L. Jackson at this level on a giant screen is a whole lot of Samuel L. Jackson, right? But we are in complete connection with his character at that point. That emphasis that he\u2019s doing with his body, and his speech, and his inflection, and his face are now most available to us as an audience, and so I\u2019ve got to calibrate to that. I can\u2019t have huge discrepancies of the sound between this and that wide shot; they have to dovetail so that when I see it I\u2019m not jarred into a completely different sounding version of the same actor just one cut away from what I just saw. I have to feel it as one thing.<\/p>\n

Filmmaker: <\/strong>I would think that on a Tarantino film a production sound mixer\u2019s job is even more important than on an average movie, because it\u2019s all about the dialogue.<\/p>\n

Ulano: <\/strong>Yes, Quentin\u2019s dialogue is sacrosanct, and we don\u2019t walk away without having gotten it the way it\u2019s going to be in the movie. The thing about working with Quentin is that you\u2019re in partnership with a director that looks at sound the way he looks at every other element, as one of his playgrounds. He looks at the set, and the color, and the costume, and the image, and the lighting, and the sound, as all parts of his palette. A lot of filmmakers do not include the sound component, particularly during production, as part of their creative toolset. They look at it as a necessary evil, almost. Because film schools don\u2019t really teach sound. They\u2019re businesses. You\u2019ll have a thousand undergraduate students, maybe 500 graduates, and of those 1500 students you might have twenty that are focusing on sound as careers, maybe 4-5 for production. And everyone else is going to be director, writer, DP, editor, or producer. That ratio doesn\u2019t seem to survive into motion pictures, in the reality of that world. And it\u2019s very odd because the compensation and creativity available in the sound world is immense \u2013 it\u2019s not Robert Downey, Jr. compensation level, but it\u2019s a real good living and it\u2019s a real creative endeavor. And yet that\u2019s invisible to a lot of people, they look at it somehow lesser, it\u2019s\u2026technical, and technical not in a good way, that\u2019s not part of the creative element. Well, there\u2019s a reason the Oscars have sound recognition, and it\u2019s not because there\u2019s some political thing that went down. It\u2019s because it\u2019s handmade work. Why are so many guys up there for sound, why don\u2019t they put that in the tech awards? Because those guys just invented a thing out of thin air that doesn\u2019t exist, and they did it from the pure creativity of their brains just the way everyone else up there has done. It\u2019s a message that we as a sound community haven\u2019t been good at expressing as well as we should, but it\u2019s something that we need to remind the world about. Not more, not less, not out of ego, but out of an actual proportion of what it is that we bring to a movie. Turn the sound off in the movie and see what happens \u2013 people will leave, they don\u2019t go out whistling the picture.<\/p>\n

Filmmaker: <\/strong>What would you estimate is the ratio between your production sound and ADR on The Hateful Eight<\/em>?<\/p>\n

Ulano: <\/strong>Zero. Quentin and I have done movies for twenty years, and our scorecard together is that we have not replaced a single word of dialogue in all the movies we\u2019ve done together over the last twenty years. Zero. Check it. [laughs] It sounds bizarre when I hear it out loud, even from me, but it\u2019s the truth.<\/p>\n

Filmmaker: <\/strong>What are some of the factors on set that make it difficult for you to record optimal sound?<\/p>\n

Ulano: <\/strong>On this set? Snow, mechanical effects\u2026first of all, they don\u2019t have those kinds of sounds in 1871. We\u2019re keeping all the vehicular and mechanical sounds out of the tracks and doing that with every tool that we have in our toolkit. Primarily dealing with the variables in terms of the visual environmental effects, because we didn\u2019t do that with any kind of computer work, it was all there on the set in front of the camera all the time. The permutations of that were great and it just required intense collaboration with the effects and camera department and cooperation in part with the director. The pre-production phase consisted of having solutions available so that we didn\u2019t just have to create that out of thin air, that we actually had tools and decisions in advance of the shooting days.<\/p>\n

Filmmaker: <\/strong>On the other hand, what can a director, crew, and actors do to facilitate the best possible sound recording?<\/p>\n

Ulano: <\/strong>Include it in their mindset of the essential skills and department as part of the process. The director must insist that the production mixer is on the tech scouts with him, is there for the conversations between him and the DP and the first AD and the producer about those locations. Think in terms of the locations, choose environments in which your actors are free to perform without having to be challenged by intruding elements that impact their ability to stay concentrated on the work, on the scene. We did a film in Boston last year called The Judge<\/em> where they chose a ten-day primary location right under a flight path for the most intimate scenes between Robert Duvall and Robert Downey, Jr. playing father and son. They\u2019re supposed to be sitting quietly on rocking chairs on a porch, and you see the rocking chairs, you see the porch, you see the greenery, you don\u2019t know why there\u2019s a plane overhead every thirty seconds \u2013 and that\u2019s before rush hour. Why choose a place, environmentally, that\u2019s going to be intrinsically challenged? It can be great visually but it needs to be great environmentally for the performers. That\u2019s one small aspect. The other is to think of sound the way you think of those other departments. Sound is not an evil to accommodate as an obstacle to the making of a movie. Sound is an integral component creatively to the result of the movie. If you think that way and you have your advocate there the way you do for production, for cinematography, for wardrobe, for production design\u2026you will have a much better outcome every time. And if you are blind to that, you will have an alienated relationship with that tool for the rest of your filmmaking career, and what a shame. What a shame. You don\u2019t want to be in a bad relationship by your own making.<\/p>\n

Filmmaker: <\/strong>What do you feel are the most misunderstood aspects of production sound mixing and\/or what are commonly held beliefs or practices that you feel are wrong?<\/p>\n

Ulano:<\/strong> There are grand assumptions on the part of people who\u2019ve been making movies their whole lives about what sound is and what we do. No one would suddenly suggest to the DP, \u201cWhy use that 50? You should use a 25mm lens, it\u2019ll save you a lot of grief.\u201d But no one will hesitate to say, \u201cWhy are you using a boom on that, why aren\u2019t you using a radio mic to solve that problem?\u201d Well, you know, the reason I do or don\u2019t is the reason you have me here. Did you hire me to be your advocate in this circumstance, or do you hire a resume with no sense of the contribution that advocacy implies? It\u2019s a strange disconnect, and part of it I believe is the invisibility of the sound work. What we do is often unfathomable and invisible to our very good friends adjacent to us because they don\u2019t see the physicality. Have you been on movie sets? Befriend the sound crew and ask them if you can listen to their private intercom, just for a day. It\u2019s like looking through an X-ray; you will see a whole infrastructure of the movie-making process that is literally invisible to most people. And that\u2019s because we are the information conduit. We know everything that\u2019s going on. I listen to the walkie-talkies, I listen to private communications, I\u2019m listening to all the scenes, and I\u2019m hearing it privately or I\u2019m sending it to my team. Why? Because we\u2019re in the blood flow. Production\u2019s changing up the shooting order? We know it before it\u2019s distributed to the set. You get my point? There\u2019s a whole invisible world that happens on a movie set that\u2019s about information flow, about context, about being in the flow and at the same time being discreet with that. So the biggest problem is not taking responsibility at the directorial or producorial level to the actual application of the sound work on the set, and diminishing it to a necessary evil that\u2019s just about capturing and collecting. That\u2019s not what we do; we are there to do what I\u2019ve been describing. When you know that as a filmmaker, as a director, your likelihood for positive outcomes and longstanding professional relationships with people who are committed to helping you do it are much higher.<\/p>\n

Filmmaker: <\/strong>What can filmmakers who may not have your and Tarantino\u2019s resources do to ensure the best possible sound on their productions?<\/p>\n

Ulano: <\/strong>I\u2019m going to respectfully say I don\u2019t understand the question. What kind of unlimited resources? The resources we have are mutual respect and a deep, deep investment in the process of filmmaking. If I\u2019m on a three-man documentary crew, and I\u2019m directing and I have a cameraman, a sound man, and myself, I\u2019m going to have the same amount of resources that Quentin and I have to do the work that we do. It has to do with prep, it has to do with being involved with having the same vision of work and having the same concerns applied with the same solutions, collectively. It\u2019s not about resources, it\u2019s about priorities. If the director makes it a priority that people are quiet on the set, that the location manager brings him locations that can work for his actors, that the cinematographer is a partner with the sound work that the director needs to capture those performances in ways that don\u2019t have to be destructive to any part of the director\u2019s film, whether it\u2019s the sound or anybody else; it\u2019s not territorial. Those are the resources that you need. They are professional resources of collaboration, they are not about money. Getting good sound has nothing to do with your budget; in fact the opposite. Getting good sound is an enormous cost-saving factor. Because if you do it, and you do it right, and you do it with respect to yourself, your own filmmaking, and the people who are there to be your advocates, you will not be in post-production with a nightmare. You will be in a situation where you\u2019re focusing on making the scenes the best they can be, not fixing all the things that are broken because you didn\u2019t work it out in the first place.<\/p>\n

Jim Hemphill is the writer and director of the award-winning film<\/em>The Trouble with the\u00a0Truth<\/a>,\u00a0which is currently available on DVD and iTunes. His website is <\/em>www.jimhemphillfilms.com<\/em><\/a>.<\/em><\/p>\n

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Few directors this side of Joseph Mankiewicz are as attentive to the clear, crisp presentation of dialogue as Quentin Tarantino, giving the always important role of production sound mixer even more weight on his sets. Since Jackie Brown in 1997, Tarantino has relied on Academy Award winner (for Titanic) Mark Ulano to capture his production […]<\/p>\n","protected":false},"author":1,"featured_media":6624,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[75],"tags":[121,137],"yoast_head":"\n20 Years of Collaborating with Tarantino with Zero ADR: Production Sound Mixer Mark Ulano on The Hateful Eight - Pro \u00c1udio Clube<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"20 Years of Collaborating with Tarantino with Zero ADR: Production Sound Mixer Mark Ulano on The Hateful Eight - Pro \u00c1udio Clube\" \/>\n<meta property=\"og:description\" content=\"Few directors this side of Joseph Mankiewicz are as attentive to the clear, crisp presentation of dialogue as Quentin Tarantino, giving the always important role of production sound mixer even more weight on his sets. Since Jackie Brown in 1997, Tarantino has relied on Academy Award winner (for Titanic) Mark Ulano to capture his production […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/\" \/>\n<meta property=\"og:site_name\" content=\"Pro \u00c1udio Clube\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/proaudioclube\/?ref=bookmarks\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/Jacarand\u00e1-Music-for-Film-Television-104479866307107\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-04-09T21:32:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/proaudioclube.com\/wp-content\/uploads\/2016\/04\/the-hateful-eight-still-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"347\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Julian Ludwig\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Julian Ludwig\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"28 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/\",\"url\":\"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/\",\"name\":\"20 Years of Collaborating with Tarantino with Zero ADR: Production Sound Mixer Mark Ulano on The Hateful Eight - Pro \u00c1udio Clube\",\"isPartOf\":{\"@id\":\"https:\/\/proaudioclube.com\/#website\"},\"datePublished\":\"2016-04-09T21:32:57+00:00\",\"dateModified\":\"2016-04-09T21:32:57+00:00\",\"author\":{\"@id\":\"https:\/\/proaudioclube.com\/#\/schema\/person\/c7f2ce76dbf5fe0f1bac1da5eb62cb77\"},\"breadcrumb\":{\"@id\":\"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/proaudioclube.com\/2016\/04\/09\/20-years-collaborating-tarantino-zero-adr-production-sound-mixer-mark-ulano-hateful-eight\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/proaudioclube.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"20 Years of Collaborating with Tarantino with Zero ADR: Production Sound Mixer Mark Ulano on The Hateful Eight\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/proaudioclube.com\/#website\",\"url\":\"https:\/\/proaudioclube.com\/\",\"name\":\"Pro \u00c1udio Clube\",\"description\":\"Um Clube para Profissionais de \u00c1udio\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/proaudioclube.com\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/proaudioclube.com\/#\/schema\/person\/c7f2ce76dbf5fe0f1bac1da5eb62cb77\",\"name\":\"Julian Ludwig\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/proaudioclube.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/70b566ad33c789926924234c1d10202f?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/70b566ad33c789926924234c1d10202f?s=96&d=mm&r=g\",\"caption\":\"Julian Ludwig\"},\"description\":\"Julian Ludwig \u00e9 diretor do Pro \u00c1udio Clube, produtora de \u00e1udio Jacarand\u00e1, Loc On Demand e Jacarand\u00e1 Licensing. 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