He’s been there since the beginning with director Chad Stahelski and with each entry in the JOHN WICK franchise Supervising Sound Editor MARK STOECKINGER and his team go bigger and better than what came before. With JOHN WICK: CHAPTER 4, the sound design, editing, and mixing is beyond award-worthy.
SYNOPSIS: John Wick uncovers a path to defeating The High Table. But before he can earn his freedom, Wick must face off against a new enemy with powerful alliances across the globe and forces that turn old friends into foes.
JOHN WICK: CHAPTER 4 is directed by Chad Stahelski with script by Shay Hatten and Michael Finch based on characters by Derek Kolstad and stars Keanu Reeves, Ian McShane, Lance Reddick, Laurence Fishburne, Donnie Yen, Clancy Brown, Scott Adkins, among others.
In this exclusive interview, Mark dives into the sonic experience and what went into crafting the soundscape of JOHN WICK: CHAPTER 4, making it as vital a character as John Wick himself, including not limited to:
- the inspiration for the sound design comes from the way the action is shot and cut
- the overall sound design in JOHN WICK: CHAPTER 4
- Chad Stahelski and sound designer Alan Rankin want sound to support the action scenes but not overwhelm them, allowing for focus on the fight choreography and visuals
- sonically complementing the action
- the waterfall fight scene; techno sound effects, focus on punches, thuds, and thwaps; pulling out sound; filter sweeps and manipulation to create a sense of space and movement
- composer Nathan Orloff working with the sound design team to create a unique sound
- Stahelski’s emphasis on sound design elements, including sonic elements and ambient location sound
- comparison of JW4 with “John Wick: Chapter 3 Parabellum” in showcasing environment and world-building through texture and atmosphere
- the minutiae of elements like sugar granules
- duration of sound effects; creating larger-than-life spaces for action sequences
- ricochet reverb
- climactic Act Three scene a la “High Noon” and John Ford movies with the addition of Western elements such as black powder guns, vintage effects, crows, nods to Ennio Morricone scores while leaning into the Western aesthetic in quiet moments
- use of non-literal sounds and musical pieces at various points
- the process of creating unique and articulate sounds including new compression schemes and EQ curves; avoiding washy or sloppy sounds
- the importance of sound design in immersing the audience in the world onscreen
- and more!
TAKE A LISTEN. . .
by debbie elias, exclusive interview 10/27/2023
