SoundStart

How do you bring a handcrafted world to life through sound?In this episode of SoundStart, we're joined by sound supervisors Ben Meechan and Luke Gentry to explore the sound of LAIKA's Wildwood, directed by Travis Knight.From designing terrifying swarms of crows and creating enormous cinematic scale with tiny stop-motion puppets, to building immersive Dolby Atmos environments and tackling an epic final battle, we go behind the scenes of this extraordinary animated feature.Along the way, we explore collaboration, creative sound design and why the best sound always starts with the story.

In this episode we are joined by the sound team behind Wodow's Bay

How do you create one of the most unsettling cinematic soundscapes in recent memory?In this episode, Stephen sits down with Supervising Sound Editor & Sound Designer Eugenio Battaglia and Production Sound Mixer Jan Hetmer to explore the making of Backrooms— the highly anticipated feature adaptation of Kane Parsons' internet phenomenon.From capturing production sound in impossible 360° shots to designing an oppressive sonic world built almost entirely from buzzing fluorescent lights, this conversation is a fascinating deep dive into how sound shapes fear, tension and atmosphere.Jan shares the unique challenges of recording production sound inside the endless, empty spaces of the Backrooms, while Eugenio reveals how stripping away traditional ambiences, embracing silence and building intensely detailed Foley helped create a world that feels both familiar and deeply unsettling.Whether you're a filmmaker, sound professional or horror fan, this episode offers a rare behind-the-scenes look at one of the year's most ambitious soundtracks.How Backrooms evolved from a YouTube phenomenon into a feature filmCapturing production sound with ultra-wide lenses and 360° camera movesUsing camera-mounted microphones to preserve perspective in impossible shotsWhy realistic room acoustics became a key part of the post-production processBuilding tension by removing sound instead of adding itThe role of silence, buzzing fluorescent lights and minimal ambiences in creating psychological horrorDesigning believable found-footage sound while maintaining cinematic impactCreating creature vocals that avoid familiar horror clichésWorldising audio using real CRT televisions and vintage equipmentThe importance of close-perspective Foley and subtle sonic detailCollaboration between production sound and post-production teamsPractical advice for aspiring production sound mixers and sound designersWhy relationships, curiosity and adaptability are just as important as technical skillOne of the biggest themes throughout the conversation is that great horror sound isn't about making everything louder—it's about knowing what to remove.Eugenio explains how reducing traditional background ambiences, focusing almost exclusively on the iconic fluorescent buzz, and allowing silence to create anticipation made the Backrooms feel unnervingly empty while keeping audiences constantly on edge.Jan discusses the importance of capturing as much authentic production sound as possible, even mounting microphones directly to cameras when boom operators couldn't physically appear in shot. Those recordings later became invaluable references for recreating the unique acoustics of the Backrooms during post-production.The episode also explores how respecting an established fanbase influenced creative decisions, balancing Kane Parsons' original online vision with the demands of a theatrical feature film.Eugenio Battaglia is an award-winning Supervising Sound Editor and Sound Designer whose recent credits include Longlegs and Backrooms. Known for his immersive, close-perspective sound design and richly detailed Foley work, Eugenio specialises in building atmospheric, story-driven soundscapes.Jan Hetmer is an acclaimed Production Sound Mixer with credits including The Monkey and Backrooms. Renowned for his technical ingenuity and collaborative approach on set, Jan has developed a reputation for capturing exceptional production dialogue in some of the industry's most demanding filming environments.If you enjoyed this episode, don't forget to subscribe to The SoundStart Podcast, leave a review, and share it with a fellow filmmaker or sound professional.

What does it really take to build a career as an independent filmmaker?This week I'm joined by writer and director Phil Claydon (Lesbian Vampire Killers, Alone, Within, Helloween) for a wide-ranging conversation about filmmaking, horror, storytelling and the changing landscape of independent cinema.From directing studio features to making a micro-budget horror film with little more than determination, a MacBook and a huge amount of perseverance, Phil shares an honest look at what it really takes to keep creating in one of the toughest industries in the world.We also explore why horror continues to launch exciting new filmmakers, whether the traditional distribution model still works for independent cinema, and why post-production and especially sound, is where films truly come to life.In this episode we discuss:Why there's never been a more exciting time to be an independent filmmakerThe success of films like Obsession and BackroomsBuilding a career through conversation rather than waiting for a "big break"The reality of directing Lesbian Vampire KillersMaking Helloween on a micro-budgetHow directors should think about post-productionWhy sound is one of the most powerful storytelling tools in filmmakingCreating atmosphere, tension and world-building through soundThe importance of film scores and sonic identityWhy horror remains one of the best genres for emerging filmmakersIf you're an independent filmmaker, writer, producer or anyone passionate about telling better stories, there's a huge amount to take away from this conversation.

In this episode, Stephen Scott speaks with supervising sound editor and re-recording mixer Steve Fanagan about his work on Hokum.They discuss:How Steve first became involved with the filmCollaborating with director Damian McCarthyBuilding the sound of the old rural hotelUsing subtle ambience, wind and creaks to create tensionWhy silence and restraint are so important in horrorRecording bespoke sounds for environments, objects and supernatural momentsDesigning the “gates of hell” sequenceThe relationship between sound design and mixingWhy cinema audiences are so important to horrorAdvice for emerging sound designers and mixersA detailed, craft-led conversation about atmosphere, performance, fear and the invisible work that makes a film feel alive.