Close this search box.
Designing the Thrilling Sound of Wonder Woman 1984

Designing the Thrilling Sound of Wonder Woman 1984

To maintain the tone of the first film, Director Patty Jenkins kept natural, realistic sounds despite of the fanciful, magical aspects of the film itself. She worked with Warner Bros. Post Production Creative Services’ Richard King, who has won four Oscars for sound editing on Inception, Dunkirk, The Dark Knight, and Master and Commander: The Far Side of the World and Emmy winner, Jimmy Boyle who have worked on Band of Brothers. Their teams split up between Los Angeles and London’s De Lane Lea. The team had a server set up by Warner Bros. De Lane Lea and Warner Bros. Post Production Creative Services (Burbank). Andrew Bock, Richard’s good right hand and Buster Flaws, Jimmy’s London-based First Assistant have perfected a system where the team could easily share sessions and media which worked very well with the time difference.

When working on producing the lasso whipping sound, they played around a choral element to add another subtle presence to the lasso when it’s glowing. The sounds were also re-sampled to make and take on the quick doppler moves which is similar to the real physical sound of a lasso whipping. The team also played with the frequencies and dynamics of the sound. For example, in the film when the jet taxiing was moving towards the audience as it speeds up, the jet gets very loud. When it zooms overhead, the sound was very loud and was made to make it seem like it’s going right over the audience’s heads. When the jet straight up and then disappears, there’s a beat of silence on the sky which sells the idea that the jet has disappeared. Richard King and Jimmy Boyle talked more about their techniques and styles on different scenes in their interview for A Sound Effect, click here to read the full article.

This blog post was written by our WBSO Reach Intern – Minna Andrea Belidhon.

Recent Posts



View the Warner Bros. Post Production Creative Services Look Book.