In film, sound is the partner to the image. The ultimate compliment to sound designers, mixers, and editors is when no one actually notices the work. Sound designer Ren Klyce brings a professional's view to cinematic sound as a subtle, supporting character to the image, and the reasons why it is so often misunderstood and underappreciated. Our work is not just about the aesthetics of understanding how sound and dialogue enhance a film creatively, but it requires an understanding of human audiology, the behavior of sound waves, and the use of a great deal of technology. In this talk, I will play some excerpts from some well-known films, such as The Social Network or The Girl with the Dragon Tattoo, and deconstruct how film sound tracks are made in collaboration with the director. Born in Kyoto Japan, Ren Klyce grew up in Mill Valley, California. He studied Electronic Music at UC Santa Cruz with Gordon Mumma, David Cope, and Peter Elsea and was trained in the traditional tape-based techniques of Musique Concrete. After meeting John Chowning at a lecture series in 1983, Klyce enrolled in the summer workshop at the Center for Computer Research in Music and Acoustics (CCRMA) and composed three pieces on the original SAM Box. Because of his experiences in the Electronic Music course at UCSC, Klyce became increasingly interested in computer music and the use of multiple speakers for playback. He went on to design sound for films such as Se7en, Fight Club, Being John Malkovich, and Where The Wild Things Are. He has been nominated for five Academy Awards — most recently for the films The Social Network and The Girl with the Dragon Tattoo. He is currently working on the hit web series House of Cards and on the upcoming film Oblivion.