Happy International Womens Day! As a late celebration here's a new episode with one of my favourite female directors, Mirrah Foulkes. Her first feature, Judy and Punch, is a violent, feminist retelling of the traditional Punch and Judy story. It premiered at Sundance in 2019, and she came on the podcast to chat about her journey from acting to directing, the process of finding the right music for her movie and the experience of making your first feature. Judy and Punch will be coming to...

Listen to the entire interview with Wayne Pashley, Derryn Pasquill and Andrew Miller from Big Bang Sound Design from episode 1 talk about their work on Mad Max, working with George Miller, their time on the Great Gatsby as well as a deep dive by Andrew Miller into sound effects editing for gunshots and action sequences.

David White was the Oscar-winning sound designer on Episode 1 of the podcast, one of the several people I talked to about the soundtrack of Mad Max: Fury Road. In this complete interview with him he discusses his acting background, what it was like working with George Miller, what the Australian film industry could do better, and how story should take precedence over everything else. Follow the podcast on Instagram at @soundperspectivepodcast

I went down to Big Bang Studios in Rosebery to chat with director Mike Green, sound designer Peter Climpson and mixer Wayne Pashley, who I'd previously talked to in my episode about Mad Max. We chatted about Mike's debut feature, Outback, a psychological thriller set in the Australian desert, how Mike and Peter developed a style in the films soundtrack, and what Wayne was able to bring as a seasoned sound mixer. Outback premieres at Monsterfest in Melbourne on Saturday 12th October. Tickets...

In this episode I talk with a big name in Australian sound design, Annie Breslin. Annie has worked for decades in Australian post-production sound as well as film preservation and archiving, with directors such as Gillian Armstrong, Samantha Lang and Rachel Perkins, as well as in theatre and installation. She talked about the "old days" of Australian film, how she develops characters through a soundtrack and maintaining a work-life balance in this industry. Instagram is...

Peter Strickland is the British auteur director of underground cult hits such as The Duke of Burgundy, Berberian Sound Studio and In Fabric, which this year premiered at Toronto International Film Festival. I got the pleasure of interviewing him while he was in Sydney for a Q&A at AFTRS. In this interview he talked about the struggles of post-production on a budget, his process of collaborating with composers, and how he uses music to communicate ideas to his actors. Got feedback? Send me...

Yulia Akerholt is an Australian soundie who has worn all the hats in post-production sound over her career, specialising mostly in dialogue editing. She's worked on countless great Australian films such as Tracks, Samson and Delilah, and Little Fish. We had a great chat about the often under-appreciated art of dialogue editing, designing the desert landscape of Tracks, working with Warwick Thornton and what it takes to break into the Australian industry these days. Find her on IMDB...

For my coverage of Sydney Film Festival I interviewed Rob Braslin, one of five directors of Dark Place, an anthology of five short horror films by Indigenous directors; also joining us was actress Sara Pensalfini, who starred in Rob’s short Vale Light. We talked about what it was like to work with a sound designer for the first time, the influence of his Indigenous background on his filmmaking and the unconventional process of being one of many directors in a single project. Dark Place is...

I had the pleasure of interviewing Samuel Van Grinsven and Stuart Melvey, director and re-recording mixer of the indie feature film Sequin in a Blue Room, which is premiering at Sydney Film Festival this month. They talked about making a thriller about contemporary queer culture, the struggles of indie filmmaking and creating a sense of claustrophobia in the soundtrack. Follow Sequin in a Blue Room's social media for updates on upcoming festivals...

I was fortunate enough to sit down with the 6-time Academy Award nominated Australian filmmaker Peter Weir, director, writer and producer of films such as Picnic at Hanging Rock, Dead Poets Society and Master and Commander. Peter is an incredibly interesting person, and talked about everything from the influence of Jung's writings during the making of Picnic at Hanging Rock, his take on Television, and the various collaborations he's had with soundies over the years. Talking with him was an...

Whilst on holiday in England, I hopped on the train to Twickenham Studios, just outside London, to have a chat with James Mather, who was sound supervisor of the last four Harry Potter films as well as having worked on Mission Impossible: Rogue Nation, Clash of the Titans and countless others. James has been working in the British industry for decades now, and he was kind enough to invite me to his studio for an interview on the eve of 2019. James talked about some really interesting stuff...

Whilst on holiday in England, I hopped on the train to Twickenham Studios, just outside London, to have a chat with James Mather, who was sound supervisor of the last four Harry Potter films as well as having worked on Mission Impossible: Rogue Nation, Clash of the Titans and countless others. James has been working in the British industry for decades now, and he was kind enough to invite me to his studio for an interview on the eve of 2019. James talked about some really interesting stuff...

I interviewed Oscar-Winning director, writer and producer George Miller, amongst many other talented people, for Episode 1 of the podcast, "Fury Road: From Storyboard to Soundtrack." With so much great content I was unable to fit into an hour, I'm releasing them all individually. Here you can listen to George talk not only about Fury Road but also the history of sound in film, his childhood, how the composers he's worked with have influenced him and what people could learn from the Kiwi film...

Ben Osmo is an Oscar-winning Australian sound recordist whose extensive list of credits include Strictly Ballroom, Alien: Covenant and many of George Miller’s films. We talked about his working relationship with George Miller, how he uses his role to help facilitate the film-making process, the technical challenges he encountered on Mad Max and Babe, and the state of the Australian industry. Find his music at https://soundcloud.com/benosmo Follow the Sound Perspective Facebook...

In this episode I chatted to musicians and sound designers CORIN, Becky Sui Zhen and Casey Hartnett about the music they composed for the Masters of Modern Art exhibition at the Art Gallery of NSW. I chatted with them about their collaboration, what it's like creating music for interactive audio-visual guides and how their music-making process is different when it's supporting visual media; included are a few tracks of their solo material as well. The Masters of Modern Art exhibition is on at...

Andy Wright is a sound supervisor, ADR recordist, and all round interesting person who works at Soundfirm in Sydney, and in recent years won an Oscar for his work as sound supervisor on Hacksaw Ridge. In this interview we talk about how he approaches working with actors in ADR, mixing a war scene, Mel Gibson’s as a director and the Chinese film industry.

I had the pleasure of interviewing Dean Hurley, David Lynch’s regular sound supervisor for over a decade, while he was here in Sydney working on the upcoming Sydney Festival event Masters of Modern Sound, where him and other sound practitioners are composing and performing works in response to the Art Gallery of NSW’s current exhibition, Masters of Modern Art from the Hermitage. Walking through the gallery space we discussed how an artwork creates a musical response, working with the director...

In this special episode I talked to the Oscar-winning director of the Mad Max franchise, George Miller, as well as many of the people behind the soundtrack of this visceral action film, including David White, Wayne Pashley, Derryn Pasquill, Mark Wasiutak and Andrew Miller. In this comprehensive look at a franchise, I discuss with them how George approaches sound in his his films, the extensive pre-production process of Fury Road, the difficulties of the production sound, creating sonic...