About this episode
This week we sit down with the writer/director and sound team behind the harrowing new adaptation of "All Quiet on the Western Front." Joining director Edward Berger is sound supervisor and sound designer Frank Kruse, sound designer Markus Stemler, re-recording mixer Lars Ginzel, and production sound mixer Viktor Prášil. This film has been shortlisted for the Academy Award for Best Sound, and as Berger says in the interview, this team has a strong track record when it comes to winning sound awards in Germany. So this is definitely a film to keep an eye (and ear) on this awards season. During the conversation, Berger also discusses why he felt now was the ideal time to tackle this adaptation of the classic World War I novel, and how the team approached the sound design and mix for the film, which — to the director — was all about harsh contrasts and abrupt sound cuts: “The film is very much about contrasts. You mentioned the generals and the soldiers. Thematically that's one. But there's also: Destruction and peace, noise and silence, battle and exhaustion, wide shots and closeups, darkness and light. So a lot of it is in contrast. And I love abrupt sound cuts, really hard sound cuts, because they always shake me awake in the movie theater. I always go, ‘oh God, something changed.’ And I have to change pace and I have to listen up. So we had talked about and thought a lot about those contrasts and those hard sound cuts that lent themselves to a rich design, I think.” — Edward Berger, Writer/Director, “All Quiet on the Western Front” (2022) The film's Dolby Atmos® mix can be experienced in the Netflix app — with the German language track enabled — and in Dolby Vision® for compatible screens . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .