Roma is a landmark achievement for director Alfonso Cuarón, who has already established himself as the master of modern realism in film. We spoke with Sergio Diaz (Sound Designer / Supervising Sound Editor) and Carlos Honc (Dialogue and ADR Supervisor) to discuss how they creatively manipulated sound to achieve the film's emotional authenticity and historical accuracy.
Sergio Diaz: Absolutely, it was a monumental challenge to preserve the continuity (of sound design) as it occurs in real life. There are plenty of sounds off-screen for that purpose, so the basis was the exploration day-to-day with more and more sound elements to get to that point.
Carlos Honc: There were multiple challenges to address in these long shots. First of all, although there were multiple takes for each scene, they were all different because the actors were not given a script and they were ad-libbing most of the time, so there were no useable alt-takes. Another big challenge was that these long shots had slow camera movements with the action moving in and out of frame all the time. Cuarón wanted to track the sound of the source continuously. The problem that would arise is that location sound had a noticeable background ambiance at times and when the dialogue was panned the moving ambiance was distracting. As most of the cast was not professionally-trained we didn’t know how much ADR we were going to be able to pull off, so I had to clean production dialogue the best I could. That is where RX Dialogue Isolate was truly useful, without it we would have to rely much more on ADR.
Carlos Honc: I think the dialogue was recorded with pretty good fidelity. Nevertheless, the way Cuarón intended to place the dialogue in the mix caused problems. I tried to use RX to salvage most of the production dialogue, but ADR was needed for most of this scene. A couple of RX’ed lines that were not panned were in the final mix; everything else was ADR.
Sergio Diaz: The most complex thing in this scene was to immerse the audience into the ocean with the sound design, so during the mixing process Craig Henighan did amazing work with most of the hundred tracks for that purpose.
Carlos Honc: The music track was actually part of the dialogue edit session. In that way, the music could be edited to be as unobtrusive as possible. I think most of the pressure to have pristine edited dialogue came from the fact that there was no score at all. There are some movies where you can get away with a little bit of noise as the score will help to hide some imperfections. At some point early in the editing process, I asked Sergio for a music score temp track to get a sense of where the music would play—when he told me there was no music at all my jaw dropped to the floor! I really like Cuarón’s choice of not using score, but it made me rethink the whole process.
Sergio Diaz: Since the film doesn’t have any score, our challenge was to have our sound elements perfectly edited in harmoniously as a “score,” only with sound design.
Carlos Honc: Right from the start, Cuarón had the plan to keep dialogue tethered to the characters. I guess he had already experimented with dialogue as Dolby Atmos objects in “Gravity,” so he was very clear about that. As a dialogue editor, continuity is very important and when background noise is carried with the dialogue around the theater, the sense of reality is lost (in reality, dialogue changes position and background ambiance is static). Cuarón wanted to do as little ADR as possible so a tool like Dialogue Isolate was essential for this challenge.
Sergio Diaz: Ironically, all the powerful silence scenes were built with plenty of soundtrack, but with accurate sound elements, and the scenes didn’t need any more than that…therefore it was necessary to remove any and all artifices inherent to Mexico´s modern cacophony.
Sergio Diaz: Yes. As the film has different worlds…for the group ADR session we brought more than 400 people to the dubbing stage to cover all the big scenes with different social classes of people, apart from the foregoing, we ask for real doctors, nurses, etc. to have all the conversations off screen and on screen as realistic as possible. To find the proper people for each scene we did casting for months.
Carlos Honc: I don’t think I made those distinctions during the editing process. I did notice that the voice of Cleo was mixed at a low level (the character speaks in a very soft voice). There was no intention of pushing any volume during the mix. I guess I also did very little clip gain to keep natural levels unchanged.
Carlos Honc: Absolutely! As I have stated before, the detail in dialogue SFX backgrounds foley was laser sharp. There are thousands of sounds and details in the mix; pretty much everything you hear is tailored from single threads of sound. There are almost no group recordings but rather a detailed recording of individual conversations to create crowds, just as it happens in reality, and the same was done in every aspect of sound editing, the mass of sound that is Roma was created sound-by-sound following the detail that you see in every frame of the picture.
Sergio Diaz: Given that the movie depicts a specific period in Mexico's history, it was a big challenge to recreate each and every sound world in its own geographical environment. As it’s glimpsed on the very first shot, between the earth and the sky, all the sound elements should be flowing harmoniously during each sequence. As we know, there’s a thin line between 'effectist' and organic sound, our soundscape always was to preserve the organic sound touching the audiences with subtle, chaotic, and silent moments as we move forward, until the sky and the earth appears again in a peaceful resolution. Sound design in its most pure and realistic recreation.