S2E28-SPECIAL-Interview-Sound-BobandJacob

Episode Transcript
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Speaker 1 (00:03):
Severed, the Ultimate Severance Podcast.

Speaker 2 (00:14):
Hello Refiner, and welcome back to the Severed floor. This
week we're taking a little break from the complete Severed
Season two rewatch after the massive three part Cheek I
Bardo breakdown, I could sure use one. This week, Volunteer
Research of vintp came through with another great interview. It'll
be a nice palate cleanser after the intensity of Cheeck
I Bardo and before we get to the cold and

(00:35):
dark of Sweet Vitriole. This time we were lucky enough
to talk to a couple of Emmy nominated Severance sound guys,
Jacob Ribakoff and Bob Chaffalis. Jacob Ribakoff should be a
familiar name to you if you're a regular listener to
this podcast. I mentioned him a number of times during
the season one rewatch. Jacob is the supervising sound editor
on Severance. He is currently a twenty twenty five Emmy

(00:57):
nominee for Outstanding Sound Editing in a One Hour Comedy
or Drama for his work on the episode Cheek I Bardo.
He's also nominated for Outstanding Sound Mixing in a One
Hour Comedy or Drama for Cold Harbor. Jacob is a
two thousand and eight Primetime Emmy winner for his work
on A Ken Burn's documentary entitled The War. Bob Chafalos
has been nominated four times for a Primetime Emmy without

(01:20):
a win. He is currently a twenty twenty five nominee
for Outstanding Sound Mixing for a Comedy or Drama for
Cold Harbor. These guys know sound and they know Severance.
We got together via zoom on Tuesday, August twenty six
to discuss all the things we hear on Severance. We
had a fun and interesting ninety minute discussion. We're gonna

(01:41):
hear the whole thing today, and like with Kat, we're
gonna do this with limited commercial interruptions. In order to
keep my podcast server happy, I have to take breaks
within the show, but I can limit the number of breaks.
We'll take one right now, then we won't take another
one until I'm saying goodbye at the end of this segment.
That way, you get to hear the entire discussion with
Jacob and Bob without interruption. It's not as many as

(02:04):
the server would like, but at least I'll have taken
a couple of breaks. We're gonna take a break right
here and when we come back, you'll be into the interview.
So if you're ready, here come the commercials. Hey, this
is Ben Stiller.

Speaker 1 (02:18):
Thanks for listening to Severed, the Ultimate Severance Podcast.

Speaker 2 (02:22):
Welcome, gentlemen. Hello, If you could give us a quick
overview of your careers, any movies, TV shows you've worked on,
you got this is not your first outing for sound, Jacob,
if you could give us just a quick overview.

Speaker 3 (02:35):
I got my start really when I was eleven years old,
met a friend and we collected silent comedies on eight
millimeter like Chaplin, Keaton Lloyd, and we would play them
at birthday parties and put on a rag time usually
it was like ragtime music, and that was the first,
you know, that was the first instance for me of
putting sound to picture.

Speaker 4 (02:56):
You know.

Speaker 3 (02:56):
In terms of my working career, I've done a lot
of work with Ken Burns over the years, from ninety
five until now, I have worked with Darren Aronofsky, Wes Anderson,
Chris Rock, who am I forgetting? Forgetting? It's been as
of late, you know. The highlights have been certainly Severance.

(03:19):
Bob and I do another show called Godfather of Haarlem,
which we've done four seasons on. I did a feature
Baby Girl last year and Past Lives also recently, and
then I have an upcoming feature coming out in theaters
called Song Sung Blue with Kate Hudson and Hugh Jackman,
which is a musical and it's been a you know,

(03:41):
it's been a great career. Really just focused on trying
to get creative experiences, and sound design is really kind
of what I live for. So you know, the more
immersive the better, and the more interesting and creative the better.

Speaker 2 (03:57):
And you are an Emmy winner from two thousand and eight, right,
you're a Primetime Emmy winner.

Speaker 3 (04:02):
Yeah, there was an Emmy four Ken Burns the War
is World War two documentary, so we were lucky to
get an Emmy on that.

Speaker 2 (04:12):
Fantastic Bob, Yes, what's your rundown looking like?

Speaker 4 (04:18):
I started right out of college. I was lucky enough
to get a job at a sound facility, mixing facility.
At the time, they were building the largest mixing stage
in New York City, and I was right out of college.
I didn't know anything about film sound post production. All
I knew was I was building this room that was

(04:38):
like a giant movie theater. I was lucky enough to
get introduced to the industry that way. Worked with some
great people in the past learning the trade of mixing.
At first, I started as an engineer. I was building studios,
maintaining the studio, and then eventually I got to sit
next to some of the mixers I learned to trade

(05:00):
through them. Probably one of the most proud jobs I've
done in the past was Appall thirteen, where we worked
on that and it was the first film to win
a sound oscar in New York. And they are actually
celebrating this September the air thirtieth anniversary, and it's going
to be re released in the theaters in Imax Oh

(05:20):
fantastic one week. So I'm looking forward to seeing that
and going back in time and remember what it was
like to be working on that film.

Speaker 2 (05:27):
Is it difficult to go back and listen or watch
projects you've worked on? Do you hear the mistakes or
do you enjoy the work?

Speaker 4 (05:35):
The funny part is when you go back and you
watch something, especially when you're working on a feature, you
work in reels. You'll work in like the first twenty minute,
then you take a break and it's another twenty minute,
and you don't usually get to see the film glued
together until it's done, and by then you're just you're listening,
you're not paying attention. And then you go and you

(05:56):
watch the film on TV or the movie theater and
you're like, oh, so that's what they meant in the storyline.
You're paid so much attention to it, you're not even
paying attention to the story, and then things start to
click and you're like, Oh, Okay, that's why he did that,
or that's what that meant. And then other jobs I've
done in the year's a lot of TV. I did
all all the episodes of Sex and the City. I've

(06:18):
worked a lot all of the episodes of Sex, all
of them except for two.

Speaker 2 (06:23):
Wow. Were you involved with this new Slightest reboot?

Speaker 4 (06:26):
Yes, I did all the episodes of the latest reboot
fantastic and just recently a project that became a highlight
of my career also was the Billy Joel documentary that's
on It's love that right now on HBO.

Speaker 2 (06:40):
My wife and I ate that up. That is fantastic.

Speaker 4 (06:43):
Yeah, that was a highlight. He's he's a Hicksfield guy
and that's where I live in Hicksville, Long Island, Oh.

Speaker 2 (06:48):
Wonderful hometown hero Jacob. Is that your experience as well
when it comes to looking back to something you've worked on,
is it kind of rediscovering it or do you look
at it and go, oh man, we messed that up.

Speaker 3 (07:00):
As a combination of all that stuff, I mean, the
you know, there's definitely maybe an aspect of oh, you know,
if it were now, I would do it differently, or
you know, I wish I had pushed for You know,
you have to there are decisions that get made to
favor the music or the sound design, or the dialogue
or whatever, and maybe you know, I'm thinking, yeah, I

(07:20):
wish I had pushed for this or that. It's it's
usually a good experience.

Speaker 2 (07:24):
You guys have worked through a period of incredible change
when it comes to the technology of sound. How has
that impacted your work? Going from tape with noise and
hiss to digital with absolutely zero sound floor it's completely,
really truly silent. How does that affect what you guys

(07:44):
are doing.

Speaker 4 (07:45):
I started when we were you know, we were mixing
on mag machines, so you didn't even have multi track machines.
It was when we were mixing in a in the
studio We had a room that if you know what
a mag machine looks like, with this brocket and it
looks like which looks like a refrigerator. We had. We
had ninety six of those in the machine room. And

(08:07):
when you went from when you had to do a
real change from real one to reel two, it was
all hands on deck. Anybody that in the in the
in the facility that knew how to handle the film machine.
Everybody would grab a machine, change it to the next reel.
So we went from that, then we went to it
a digital. We kind of took baby steps. We went
to a D eighty eight where sound effects would be
put onto a little a track, you know, cartridge looking thing,

(08:32):
and then then then we got the our first ones.
It was Sonic Solution was the first for me, the
first workstation that we worked on. Then pro Tools was
introduced and now everything is done on pro Tools. People
thought we would it would speed up the process, but
it never really sped it up. You can just do
more fine details. And now with some of the tools

(08:55):
that are available to you to clean up dialogue, take
out noise, siblans, a little bird chirps, or you know
what you have available now used to take you hours.

Speaker 2 (09:05):
Back to Yeah. Yeah, I started radio nineteen eighty and
had a little tackle box with me that had my
razor blades and tape in it. So yeah, I'm going
back to those days, and man, it's so much easier now.

Speaker 3 (09:16):
Yeah, I mean, and I would just throw in there.
To me, the biggest difference is a mental I used
to do when I worked on mag and I had
a few years of doing that before digital came in.
You had to really think things out because you couldn't
just throw things together and see how they sound. You
really had to like plan it out, plot it out.
I did a lot of writing to plan a scene out,

(09:38):
to map it out, you know. When digital came in,
the ability to throw the sounds into onto the canvas
immediately means that you just have this facility to be
able to try things that in the past you just
kind of had to do it in your head. Now,
you know, since then and then now we're talking about
like thirty years of this, you have this huge kind

(10:00):
kind of laboratory within the workstation, you know, that you
can use for creative purposes. So you know, that's pretty.

Speaker 4 (10:08):
Cool to add in the mixing process for that was
we had no automation. So your freighter levels, all your eqs,
any echo, any echo, reverbs, noise reduction. As you were
going through certain spots of the real you have to
make notes of everything that you were doing in that
particular scene or even that particular three foot section, and

(10:31):
you get huge que sheets and you would and that
was your roadmap, and as you're playing along and moving
and moving along, you would make adjustments to it so
that you can and you'd be punching into a six
track mag or four track mag whatever, and you would
have to make adjustments so that you can match back
into your mag and punch in, and sometimes you just

(10:52):
couldn't do it, and you'd have to just re record
the whole section because you find that.

Speaker 2 (10:57):
That's the thing too. You don't have that commit to
an edit now. Used to be when you set up
an edit and you ran that edit, it was there,
locked in. There was no going taking the pieces apart.
It was all there, and if you messed it up,
you had to set it all back up and redo it.
Now there's none of that commit. You can move it
around todjus to get it exactly right.

Speaker 4 (11:14):
Yeah, the workstations remember every little everything you do, which
is great.

Speaker 2 (11:19):
Just in general, you guys have as an outlook on
art or life that influences your work or you feel
like over the years has influenced your work. And kind
of what is that philosophy of sound design?

Speaker 3 (11:32):
I mean, you know, for me, I think it's a
certain inclusiveness, like everything is fair game. You have this,
you have the world of sound is vast, you know,
and there are no limitations. The philosophy is that, you know,
we can use sounds that are not necessarily associated with
a certain scene or location and kind of have those

(11:55):
underneath and use the textures, you know, the just diversity
of sound that's out there to push boundaries.

Speaker 2 (12:04):
Now, Jacob and the crew. Listing on IMDb, you are
described as the supervising sound editor and Bob you are
a re recording mixer. Those are your job titles. Now,
you guys have nominations for both sound editing and sound mixing.
Can you describe your jobs, what your duties are and

(12:27):
give us an idea what's the difference between sound editing
and sound mixing.

Speaker 4 (12:32):
Well, as the mixer, my job is to get all
the elements that the sound editors have been working on
and preparing for weeks so day you know.

Speaker 2 (12:42):
And where would those where did those elements come from?

Speaker 4 (12:45):
Well, for example, you know, a dialogue editor would be
working on the dialogue that came from location sound along
with him as an ADR editor that's working on new
lines of ADR to be placed in. And then there's
also a loop group that might be coming in for
the for the show. So the editors are spending their
time preparing all the elements and that and then they

(13:07):
delivered to me onto the stage for me to mix it.
So my job is to take the sound elements of dialogue,
a DR, loop group, music in the severance with severants
I took I took control of the Foley. I would
mix the folly with that, and then Jacob, because he's
listed as a re recording mixer in addition to the

(13:28):
sound designer, he would sit next to me. So we
had a two man console. I was handling dialogue, music
and Foley and Jacob was handling all the sound effects.
So we were basically we're a two man team in
the studio. But Jason Jacob also had the h the
job title and duty of being the sound designer where
he would design all the sound effects for the episodes.

Speaker 2 (13:50):
Okay, And just to clarify for everybody that may not realize,
ad R is additional dialogue recording.

Speaker 4 (13:57):
It's worth it's automated.

Speaker 2 (13:59):
I don't know a lot of automate back in the day.

Speaker 4 (14:02):
In the in the the mad days, it was, you know,
automated because they would you know, be able to put
beeps and do all that kind of stuff.

Speaker 2 (14:09):
But that's when you bring someone in. If there's a
fluffed word or maybe you know, a jet flew over
when they set a line out in the field, you
have them re record that and.

Speaker 4 (14:19):
Look, well, sometimes they would want to change the performance
or they want to add a word that they didn't
say on the set, and they they're in the studio.
Just are you in an eighty R studio? Now take up?

Speaker 2 (14:28):
Yeah.

Speaker 4 (14:29):
Yeah, it's a nice clean, quiet, quiet room. And they'll
play the scene on a big screen. The actor actress
will have headphones and they'll hear the take that they
that they're supposed to replace, and in some cases they'll
be beeps that will go beep, beep, beep, and on
the fourth imaginary beep is when they would perform their lines.
And then we have an eighty R mixer that records

(14:50):
that and then once it's recorded. I mean that's a
skill in itself getting them, you know, the eighty R
mixer to get the best take and the best performance.
So then the eighty then hands that to the ADR
editor and now the ADR editor has to edit that
and make it in sync with the dialogue and a
lip movement, so like you see in other shows where

(15:10):
the adyr sticks out, Yeah, you got to work pretty
hard to get it to sync up. Sometimes.

Speaker 2 (15:17):
Well, it's getting that quality too. If the original line
was said outside with wind and noise and different sound
around it, and then you're saying it in a studio,
it's hard to add that quality back in.

Speaker 4 (15:28):
Yeah, it is very difficult get it in there.

Speaker 2 (15:30):
So you kind of went through a little bit. If
you could go through, You've talked a little bit about it.
The workflow. Let's back up a little bit. Even where
does it start when you guys get involved in the
creative process for the episode. Are you sitting down at
the scripting point or are you starting to look at
dailies and decide you know what's going to happen sound wise,

(15:51):
and are you working with the director or are you working?
Who is it you're you're going through this on?

Speaker 3 (15:57):
You know?

Speaker 2 (15:57):
It?

Speaker 3 (15:57):
Did? It? Does it can? And often it does start
with a script. Like for before the first season, I
read all of the scripts for all the episodes before
I saw a single frame of footage, so I had
a real sense of what the whole thing was about
and those That's a great process because creatively, I can
start imagining, you know, what things are going to sound

(16:19):
like and coming up with ideas before I even see anything.
But it really comes to life when you get to
sit down in front of the first cut of the
episode or you know, the movie that you're working on,
and it all becomes real. You know, certainly you get
to see what is very different from what you imagined
reading the script, or what is the same, or what

(16:41):
they've cut out or you know whatever.

Speaker 2 (16:43):
For the second.

Speaker 3 (16:44):
Episode, I had the option to also read the scripts.
I made the conscious and then Bob did too, and
we made the conscious decision, No, we don't want to
read the scripts. We want to be surprised each time
we get an episode. Let's just start the work as
soon as as we see the episode, so you know,
it starts then. And then in terms of who you're

(17:05):
working with. Oftentimes we have spotting sessions before we start working,
which is where we sit with the director or the
showrunner and maybe the the and usually the editor, the
picture editor and just talk through what the ideas are
for sound. We did that a lot before the very
first episode of the first season, and in fact, I then,

(17:27):
you know, we talked about what is Luman gonna sound like?
And I started working on certain ideas and had Ben
who's the director and show you know, showrunner for severance,
Ben Stiller, and then Jeff Richmond is the supervising editor.
They're really the ones that we're mostly talking to on

(17:47):
a creative level. You know, I started creating sounds and
soundscapes and things for Luhman. You know, I could answer
some questions that I read where, for example, I came
up with the idea. I was getting the idea in
reading it. And certainly it is like this that lumin
almost this evil host that feeds off of the souls

(18:09):
and the lives of its employees. As such, I had
the idea that maybe like the room tones could almost
be like breathing, you know, It's almost like you're inside
the belly of a beast and you're feeling some sense
of like some you know, omnipresent evil or something. I
had put sounds like that in some of the scenes,

(18:31):
and when they heard that, they said, you know, stuff
is kind of wild, Like I maybe like, we like
the idea, but let's not lead with this. Let's stay
this stuff and let's like work it in little by
little as the season goes on, we could start working
some of this stuff in.

Speaker 2 (18:49):
So slowly add in the crazy, yes, exactly. So, yeah,
you don't even want to freak anybody out from the beginning.
It was weird enough to begin with. If you had
all that on top of it, it's kind of weird
out even more right talking about sounds and the things
that you guys are using, and this is kind of
going stepping back even further away from it. When you

(19:09):
get in the car, or you get on a plane,
or you get on an elevator, are you listening and
inspired by those day to day sounds?

Speaker 3 (19:17):
Now?

Speaker 2 (19:17):
I've heard I think an interview we've read with you
in the in the past it was an ding on
an airplane call button that kind of inspired you for
one of the elevator dings. Is that true?

Speaker 3 (19:29):
Yeah, that's true. It's the it's that classic sound that
you know when when the seat belt light go like
goes off or on fashton belting and there's a there's
a ding that we I think we're all very accustomed to,
and that just popped into my head as the sound
for the elevator. And because this show has this kind
of timeless quality in this way of sort of spanning

(19:54):
many decades technologically, and it just sort of all gets
it all creates its own style that draws from many
decades of technology. That sound has really changed a whole
lot on airplanes. So yeah, that's the sound for the
elevator dings. And then it even you know, there we
start to get into the complexity of when do you

(20:18):
hear a ding? And I pitched the ding? Was it
up or down? Probably up for part of the transition.

Speaker 2 (20:25):
The Gali effect.

Speaker 3 (20:27):
Yeah, well it's a Zalie camera wise, and then it's
just that that transition that they make to become seven,
you know, or in reverse, and I use the ding
as part of that. But it's very similar to the
elevator ding, which is what you hear when you see
you actually see the elevator light going on around.

Speaker 2 (20:47):
I've got a whole section we're going to get to
in a little bit here about the elevator ding So, okay,
hold off before you get too too ding worthy here.
But yeah, because I don't know if you've seen it,
but there is a YouTube production where someone with perfect
pitch has gone through and identified the pitches of the bangs. Yes,
we want to talk about that, So we're gonna get
to that in a minute. Someone want to talk about

(21:07):
right now. And Bob, you kind of alluded to this,
bringing you all the pieces and putting this all together.
One of the big pieces is the musical score. I
wonder if you guys could talk about how you work
with Theodore Shapiro and how that other sound element becomes
a part of what you're doing.

Speaker 4 (21:26):
Teddy works with a music editor, Sam Zions, who Teddy
does the composing and Sam does all the editing of
the score. Between Jeff Jeff the picture editor, we'll have
a lot of conversations with Sam and Teddy ahead of time.
Jeff is getting temp's score. It hasn't been recorded yet

(21:47):
in the in the scoring stage or recording studio. He's
getting it, you know, off of a you know, a
keyboard or whatever. But he's getting the temp score and
using that in the scenes. I would say that Jeff
is really the ones hearing the ship Jeff Richmond when
it comes to how the score should sound. But then
when the score is delivered to me from Sam, I

(22:08):
get all the separate elements, all the stems of every instrument.
So I'll have a separate bass instrument, separate drums, percussion.
You know, I'll have hundred tracks of and some of
them are recorded in atmost some of them are in stereo,
some might be in five to one. So I get
all those different elements and playing them in their unity

(22:29):
at equal level is really the way it was mixed.
But then we had the luxury of lifting and changing
the level of one little you know, one little music
note and bring that up or bring that down.

Speaker 2 (22:40):
So another one of those things that you could never
do prior to the digital age.

Speaker 4 (22:43):
Oh no, no, I wouldn't have enough machines.

Speaker 3 (22:48):
Well, I would also add on again a sort of
creative content level. We don't like Teddy and I, we
didn't directly ever work together, you know, we didn't ever
have a conversation, and yet clearly there's a lot of
cross pollination going on. I think, you know, especially picked

(23:08):
up on this in season two. He clearly digested a
lot of the sound where you know, there's something called
what they like to call the Fritz, which is partly score,
which is score, like when you see the opening titles
and there's that kind of glitchy Yeah, you know that's
that's musical, but there are also sound design versions of that,

(23:32):
you know, or things similar to that. In one of
the episodes of season two, Teddy put a ticking clock
into the score, but then we sunk up the actual
ticking clock. It's a scene where Helly is. It opens
the episode and she's in a swimming pool and there
are close ups of the clock and then you really
hear the ticking there. And it's also that his score

(23:52):
is so driving and drives the episodes, especially when you
get towards the end of each season. I was always
looking for little openings and clearings, a little daylight where
you know, you could put some some other sounds and things.
You know, then there sounds like wind which don't really
have a counterpart in the score, So you know, that

(24:12):
was an area where I could just focus on the
wind sounds. You know, like in woes Hollow, for example,
is a great one for Wind.

Speaker 2 (24:20):
I've noticed more so in season two, when we transition
to a new scene or we go to a new location,
there'll be a low level or something there, or a
wish or some you know, something that's kind of setting
a baseline. I often wonder, is that something you guys generated,
or is that something that Chapibro generated or are you

(24:40):
guys collaborating on that.

Speaker 3 (24:41):
Yeah, I would say probably, I don't.

Speaker 2 (24:44):
Know, And it might just be based on the scene.
It may be you know that it's creating something that
fits there.

Speaker 4 (24:52):
And I remember a couple quite a few times we
would say, let's put a little you know, a little thing,
a little you know, a low end you know section
or you know this change you know, sometimes it just
helps to change the location. You know you might want it,
and then it cuts off. In this way, you can
sell the idea that now we're in a new place
because we have a sound that started and then it

(25:12):
abruptly ends and now we're in place. So sometimes you're
in Lumen, you'd be in such quiet areas that changing
locations you didn't you know, you had to accent it.

Speaker 2 (25:22):
That is amazing to me and as a sound guy,
and when I go edit these, I used so many
clips from the show when I'm doing the podcast to
do the rewatching things. How sometimes you have almost no signal.
You've got people in the MDR space whispering to each other,
and when you look at the sine wave, there's nothing there.

(25:44):
It's just almost you know, not even a recognizable as
a physical sound there. How do you find that bottom
end where you know, what, what is the acceptable lower
end where you're going to make it quiet enough that
we're grabbing our remotes to turn it up. But it
never seems like we need to do that. Even though
it's a whisper and it's in a very quiet environment,
it still sounds loud enough. How are you getting that

(26:06):
out there without that energy, without the volume in the
sign wave?

Speaker 4 (26:09):
Well, I have to give a lot of credit to
the sound mixer, David Schwartz, who does a fabulous job
of being able to get the microphone in places that
you know, you can't see it and hear it. You
know that we can get especially when you're whispering. Is
it episode two or I forget which episode it is,
but there there's like a whole section where they're just whispering,

(26:32):
you know, so down you get you're pushing up the
level of try to but he gives me such clean
dialogue that I don't have to struggle to get that
to pop through. You have, you know you're going to
have to take out a little bit of noise, but
the secret is really getting it in the recording well.

Speaker 2 (26:47):
And then at the other end of the extreme, like
in the turbulence room down on the testing floor, where
you've got this just cacophony going on, but you still
hear Robbie Benson's lines He's trying to serve dinner, and
you've got those just writing on top of that huge
wall of sound that's happening there.

Speaker 4 (27:05):
That kind of goes back to that question you asked
you asked earlier about your everyday life. What kind of
influences you in your every everyday life on how you
approach your job. One of the things that has affected
me the most of being a mixer is if I
go into a crowded restaurant and I'm trying to have
a conversation at a table with people, I don't have
control of the music. I can't lower the music or

(27:26):
I want to complain that they're playing the music too loud.
I can't tell the table behind me they're too loud,
so I pay a You know, I'm like, I'm in
these environments and I'm wishing I could mix the environment
and say everybody.

Speaker 2 (27:41):
Or just have it at the right level where it's
not empowering. Yeah. Yeah, So when you're.

Speaker 4 (27:45):
On the stage and you're mixing those scenes, you just
you look, it's your you have a trained gear and
you know where you know levels should sit and where
it's you know, and uh.

Speaker 2 (27:55):
Well, how you can just let something out just enough
above what's around that you can hear it. That has
becomes the central point of it. Now we've talked a
little bit actually here about set design and how that
affects sound. Are you guys ever involved with the acoustics
or the set design? Do you ever have any input
on that when it comes to sound recording.

Speaker 3 (28:14):
I never have. I don't think so. I think that
we had some early discussions and then from the early
mixing that we did, we knew that we wanted Looming
to be a very quiet place. We knew that if
the rooms were reverberant or there were you know, wood
creeks and things like that with the footsteps that all
that stuff was going to have to be taken out.

(28:34):
So the degree to which they may have cooperated, I'm
not sure, but what I can say in terms of
set building, there is one piece on the set that
we asked for to bring to the Foley Studio to
record it later on, and that's that's the MDR keyboards
that they use at their computers, which are very kind

(28:56):
of clunky and old school. We like the way they
sounded in production, but wanted to record them cleanly and
in sync and have extra and having it, you know,
to use in the background. They sent us, you know,
our fully editor Eric Strausser was in touch with it.
Might have been Cat Miller if she was the Probably

(29:17):
I think it was because that's where I remember her
name from. Was in touch with her and said, you know,
could we is it possible we could have one of
those sent to the Foley Studio and they and she did.
That was great and so we were able to actually
use that as to record it.

Speaker 4 (29:32):
Pretty soon you're going to be able to buy one.
There's a company selling them.

Speaker 2 (29:35):
Yeah, you can get the keyboard right now. Although I'm
worried it might be vaporware, because I've seen a couple
of people said they ordered it, and I haven't gotten
anything yet, so I don't know if it really exists
or not. Yeah, that caught my attention when I said
I need one of those.

Speaker 4 (29:51):
I do remember early on in season one, we were
getting sound from the location and they would they just
wanted to make sure that things were sounding okay and
it wasn't sounding too big to reverbi And the same
thing happened in season two because I think they changed
the production mixer that started in season one retired and
there was somebody new that came on a season two

(30:11):
and they just asked us, hey, can you listen to this?
Is it? You know? Are we in good place? And
I was very quickly able to say, yeah, good to go.

Speaker 2 (30:19):
You know, as a baseline, the ANY and AUDI worlds
are very visually different, obviously, how do you guys approach.
Is there kind of a baseline for creating sounds, whether
it's ANY or AUDI that you use to make those
sound different, because they obviously do you know, we're hearing
that they sound very different. What are those kind of

(30:40):
baseline rules that you use to get those different sounds.

Speaker 3 (30:43):
I would say, you know, the the baseline rule is
that Luman has to be very quiet, very dry, and
then the outside world has to be alive, you know,
has to feel dimensional. You know, if Luman is two dimensional,
in the outside world has to be three dimensional. So
it's really leaning into the air tones when we when

(31:06):
we're in the outside world, and it's always wintertime in
the show, so you know, you have winds, you have snow,
you have rain, you have all of those elements to
draw from. So I would say, you know, those are
the basic differences between innyan outy.

Speaker 4 (31:24):
It's almost like a.

Speaker 3 (31:24):
Two D and three D.

Speaker 2 (31:26):
How much hary you've got in there.

Speaker 4 (31:27):
Yeah, And with the dialogue, I was doing a thing
with the dialogue where I was using especially an MDR,
but in almost any room but an MDR. I had
a Doby atmost reverb, which is, you know, a seven
seven to one reverb, and it was called airless room.
You didn't want it to sound big, but you wanted

(31:48):
it to sound like you kind of wanted to sound
like your voice sounds in your head tight, close, tight
and close, and you know, and you know echo going
on exactly. It's when we went to different areas we
were able to play with The hallway had a you know,
a totally different echo. So I was constantly tracing all
you know, echo from room to room to room to room.

Speaker 2 (32:11):
Now, you guys are not independence with the production, right
you are. You work with another company that is a
subcontractor to Red Hour. Is that how it works?

Speaker 4 (32:19):
Yes, I work for a company called gold Crest Post.

Speaker 3 (32:23):
Yeah, and I work I'm a freelancer, but I'm working
also with at Goldcrest and you know, everything it's a
gold Crest soundhouse job, you know, so except of course Folly,
you know, Foley is a separate company. Was the C five.
Foley was George Lara and Marco Costanzo, which apparently now

(32:44):
is no more, but we will get them together again
too for the next season. You know Loop Group, which
is almost none of inseverance, But that's a separate company.
But yeah, gold Crest really is, you know, our mixing
studio ad R studio, unless, of course, the actors are
somewhere in some other part of the world, and then
they're going to go into a studio wherever they are.

Speaker 4 (33:06):
That would be the facility that we would mix in
and we recorded adr was a Gold Crest, but all
the editors, Jacob the dialogue and everybody was freelance editors.
But they're all part of the Gold Crest package.

Speaker 3 (33:18):
Okay, right, and we're all in the union also, so
you could also say that in a way, you know,
that's another umbrella organization that is part of this process.

Speaker 2 (33:30):
So is this the first time either if you guys
have worked with Ben Stiller or Red Hour now we worked.

Speaker 4 (33:35):
The first time that we both worked with Ben was
on Escape at Dana Mara Man.

Speaker 2 (33:40):
That project brought a lot of people together who are
on this project, Jessica Gane and Yeah, a lot of
folks were involved with that. Oh hey, I was going
to throw something in here. Vinnie likes to come up
with lighthearted palate cleanser questions. Every so often we throw
one in just to lighten things up. So I've got
a few of them here. I love this when if

(34:01):
you had to hire one person from MDR to work
with you guys in the sound department, who would you
hire and why? I don't all answer what I think.

Speaker 4 (34:13):
I would like to hire Dylan?

Speaker 3 (34:14):
Well, what I was gonna say? Dylan Also, that's so
he's Dylan is hired.

Speaker 4 (34:19):
I would say Dylan, because you want to have fun,
you want to laugh. He can make your day go fast.

Speaker 2 (34:26):
Dylan, Dylan's a laugh riot. He keeps you going. All Right,
I'm gonna talk about some Easter eggs. In the second
episode of the second season, where Mark is standing in
front of Cobel's rabbit and he's trying to stop her
out there in front of the house, she explodes. We
get an outburst that is this layered wall of sound

(34:46):
and included in that and I'm pretty sure I can
hear it, But then we also read it is the
Wilhelm scream?

Speaker 3 (34:53):
Correct, Yes, you are correct sir. Yeah, you know, it's
really funny. So the person that came I never used
that because it's such a cliche. I very consciously avoid
using it because it's.

Speaker 2 (35:07):
I did when we did the podcast. I did explain
the history of it, so everybody's kind of aware if
they listened to the podcast about what it is. But yeah,
how did that get into the mix there?

Speaker 3 (35:15):
So Ben actually said something like, you know what it
kind of have you ever used the Wilhelm scream? Wouldn't
it be cool to have a Wilhelm scream? Somewhere in here,
and I'm kind of like, in my mind, I'm rolling
my eyes, but I'm like, okay, well, you know, I
guess this is the first time for everything. That's where
we you know, so it was around while we were

(35:37):
working on that episode. So yeah, I mean, you know,
she starts screaming like a banshee and it's just like crazy.
I put it in. I think I experimented with the
placement of it in different parts of the scene, but
ultimately it landed as part of the car, like the
car going right by the camera. It becomes like along

(35:58):
with the car buy and then screaming in engine becomes
a part of that sound that that crazy screaming sound
of the car.

Speaker 2 (36:05):
In that you also have some birds screeches in there,
and so there's a lot in that. I've gone through it,
played it. I've slowed it down a few times, is
to hear the different elements in it, and man, you
get you've got a wall of sound.

Speaker 4 (36:18):
Happened you were Jacob and I were blown away when
people picked that out.

Speaker 2 (36:24):
Well are there? This is this is my next question.
Are there other auditory Easter eggs like the Wilhelm scream
that you guys have snuck in places that nobody's picked
up on yet.

Speaker 3 (36:34):
Again, like it's it's hard to say that there are,
but that said, like there's everything's fair game in terms
of what to you know, what kind of sound to use,
and then when you start speeding them up and slowing
them down, you know, they turn into something else. I'm sure,
even though I can't remember exactly what they might be,

(36:55):
I'm sure there are some very far afield sounds in there,
you know, here and there. I'll keep thinking about it
as we talk.

Speaker 4 (37:04):
Yeah, I can't remember us doing anything that was like
as crazy as the will A Wilhelm screen.

Speaker 2 (37:08):
Well, also anything just an unusual Actually, one of the
patron refiners had a question, you know, versus the real
sound versus like creating thunder with a sheet of metal
or something like that. You know, if there are sounds
like that that you've created that you know might be interesting.
Now you guys have kind of explained, you know, how
you get the sound. Do you ever get to set?

(37:30):
Do you ever get on set while they're shooting episodes?
Does that help you in any way if you are
to get on set.

Speaker 4 (37:37):
I've never been on the set for set I've been
on I've visited sets before, but it's only really for
a visit, nothing for a I think one time I
had to go for a technical reason only because they
were doing this big musical piece and they when you
do it and when there's a lot of people dancing,
they have to they do this. They call it a
thump track, which is just the low end boom boom,

(37:58):
boom boom, and then when you you filter that out,
you're able to filter that out and get all the
dialogue to poke through. So they had asked me to
come on set to just listen and make sure that
they're not overdoing it, that I could filter it out
for severance. We never I wish we did. I can't
wait to go to the set for season three.

Speaker 3 (38:18):
And you know, ironically, one of the only times I've
ever been on set was when I interviewed for Escape
of Dana Mora and met Ben for the first time.
I went. They set it up where I was going
to meet him on his lunch break while they were
shooting Escape of Dana Mora, and so I went to
the sound stage and you know, I had read all

(38:39):
those scripts. Was very inspiring. We had a great conversation.
He took time out of his lunch break to talk
to me, and then when it was over, he said, hey,
you want to watch us shoot this scene? You know,
why don't you hang out and just watch us shoot
the scene? And it was one of the prison catacomb
scenes with fol Dano, and I got to you know,

(38:59):
say hi to Paul and stuff. So that was like,
really one of the only times I've ever been on set, ironically,
was during the interview with Ben.

Speaker 2 (39:09):
You'd expect you guys would be around all the time,
but you're just getting it once it's done and it's
being delivered to you, and then you start to work
from there.

Speaker 4 (39:17):
Yeah. Usually, you know what kind of locked in the
studio or in the edit room and we don't have
the time, and you know, the sets are constantly moving
and it's hard to get the permission to be on
set and be a distraction.

Speaker 2 (39:30):
Now we've thrown the term around a couple of times here.
Fully you guys work with you know, you mentioned actually
there is another company that does the fully can you
explain fully work for the fans that don't necessarily real
clear on it and talk about how you work with
the folly artists.

Speaker 3 (39:48):
Sure. So what folly is is where it's all of
the kind of human based sounds like footsteps or you know,
a handshake, maybe clapping, sitting down, getting up keyboard, Yeah,
the keyboard, the keyboard work, all kinds of stuff like that,
you know. And so what it is is that there's
a studio where there's a fully artist who has it's

(40:13):
like a big studio recording studio, but it's it looks
like a junkyard. It's full of all kinds of surfaces,
from parquet floor to cement to carpeting to grass, which
in real life doesn't really make a sound when you
walk on it. They used to use audio tape. I
think they still do for for you know, big, big,

(40:33):
like tangled, massive audio tape, and that becomes the sound
of grass. That's a thing that's used. That's not the
actual thing. So they're watching the episode and in sync
with the episode, and it's amazing. A fully artist is
truly an incredible talent because they'll usually nail it in
one take. They'll watch it never having seen it before

(40:55):
and walk in perfect cadence to each character's footsteps, and
you know, and all of that is done and there's
a folly editor that cues all of that in advance
and then cuts it, and then on this show passes
it to me. I take a pass through it, and
maybe some of it. I might change the pitch of it.
If I want it to sound a little deeper, I'll

(41:15):
pitch it down an octave. And then once I've taken
a pass at it, then I hand it over to
Bob and he mixes it. What's really interesting is for
some of the big musicals set pieces in the show,
like chasing down a corridor or you know, the main
character running down the hallway, they'll be like some driving music,

(41:38):
driving score, and they will want to hear the footsteps
punch through that. And I don't know how Bob does it,
but he somehow gets these footsteps to punch through that.

Speaker 4 (41:48):
Well. The opening of the opening of season two with
Mark running through the hallways, yeah, you know, we have
the music blaring, we got well going, and we have
Jacob's washes.

Speaker 2 (42:00):
Is one that really stands out to me is Milchick
running through the halls to get to the security office
at the end of season one. Those footfalls were just sharp.
You could really hear him. There were crags as he
was running.

Speaker 4 (42:14):
And then one of the things that we have to
do in Severn's, especially the MDR room or any of
the rooms, is the footsteps that are recorded on set
on production. The room is big and it is kind
of reverby. If you listen to the production sound effect,
the production sound of the footsteps, it's too big. It's
not the sound that we want. So we have the

(42:34):
editor will cut out all the footsteps and then we
replaced that with new footsteps from the folio artist.

Speaker 2 (42:42):
So that space is a lot livelier than it's being
presented to us as when we see it it's very dead,
very quiet. It's really a lot livelier.

Speaker 4 (42:52):
Yeah, and they've gone even in the beginning in the
first season when they started hearing that the footsteps were
really loud. I think they even changed the way they
would shooting some scenes where they if you couldn't see
their feet, they were wearing socks.

Speaker 2 (43:04):
Or Yeah, they put some rubber and padding under some
of the shoes. The men's shoes were making some noises,
and yeah, they tried to knock that down.

Speaker 4 (43:11):
A little bit. I knocked that down because it was
becoming too big.

Speaker 2 (43:14):
Now I'm going to talk about little tiny sounds, little
tiny foley sounds. And one of them that I read
an interview with you guys after season one, it was
very interesting to me, was the flick of the severnch
chip after it was inserted in Helly's head. You heard
that little mechanical sound one that Vinny mentioned to me.
When Dylan is giving Irv's eulogy and he reaches up

(43:36):
and pushes his glasses up on his nose. You hear
that bump of the glasses in his finger to that,
How do you, for one determine we need a sound there?
But then how does that become reality?

Speaker 3 (43:52):
Well, I think like in the examples, the examples that
you give, the fully folks are very detail oriented, so
they have a natural inclination to provide sound, especially when
the context. When the context is one of silence, which
it is all the time in severance, you know, it's
just a quiet environment. So once you're confronted with a

(44:13):
quiet environment, you start to imagine, well, we could probably
it's so quiet, we could probably hear him pushing the
glasses up on his nose. Let's record that. And so
they do, and then it's there and we have all
of this minutia, and then it's just kind of it's
finding that level of all this minutia where it can

(44:33):
work and feel real and natural and not feel a little,
you know, too over the top. But those sounds then
become an extension of the characters, and in a sense they
add to the drama of the moment because they punctuate
little actions like pushing the glasses up. They add to
the tension, and I think that's how the folly is

(44:56):
so beneficial.

Speaker 2 (44:58):
Bob, you've mentioned this couple of time in passing. I
want to put a little more of a spotlight on it.
Tracks you get different tracks in and that is going
back to analog tape. It used to be they divided
up the tape in little slots across where you could
put a sound and then put a sound next to
it and another sound next to it, and build up
those tracks so that they were in the right position
in relation to each other. Well, it used to be

(45:19):
limited to sixteen or thirty two tracks, and you couldn't
get much beyond that because of the width of the tape.
But with digital you can now make virtually unlimited tracks.
How many tracks are you dealing with when you get
an episode ready to go, and you've got everything in
there and you're working with all the tracks, how many
are you looking at?

Speaker 4 (45:40):
Let's see. I'll just let's say in dialogue, I'll probably
have sixty, maybe thirty two tracks. In my dialogue, I'll
have there's very little Lady R and group, so I'll
have thirty two tracks maybe in my dialogue. Because remember,
for every every scene is going to be a love
mic for every character, and then there'll be a boom mic.
And in some cases, you know, if all characters of

(46:00):
five characters, everybody's got their own love and we like
to check aboard and split things up, so I have
control of it, then music will be that could be
over one hundred tracks of music, but I don't necessarily
have control of every single one hundred some of it.
Like there's a ten track bed of Adobe atmos, you
know synth, I have all ten tracks. I don't control

(46:23):
in each individual track. I control all ten at once.

Speaker 2 (46:26):
But you could have a couple couple hundred tracks built up.

Speaker 4 (46:29):
Yeah, yeah, probably, you know, maybe thirty two faders to
control all those sounds. And then in fully I'll have
sixteen tracks of fully footsteps and another sixteen tracks of
fully props. So when you know, like if you're in
an MDR, you know, you have all the characters, everybody
has their own track of footsteps and everybody. Then there's

(46:50):
going to be tracks of chair sounds. Then there's going
to be tracks of the computer sounds. If Mark Len's, oh,
you know, if he turns that little picture on his desk,
there's sound of that. So in one prop and one movement,
I could have sixteen layer tracks of movement that I
have individual control over. Wow.

Speaker 3 (47:10):
And then that's just on Bob's side, and on my
side is another couple hundred tracks. You've got backgrounds, and
backgrounds are layers of environmental sounds, airs and you know
all that kind of stuff. It's traffic or birds and
things like that, and then specific effects and again like
you know, a door closing opening and closing by itself

(47:31):
could be ten tracks. Yeah, it definitely adds up.

Speaker 4 (47:36):
And some jobs, like Jacob, like you know, probably the
last few jobs that you've done, you'll handle the sound
effects and you'll also handle the folly correct my new mix.

Speaker 3 (47:46):
Yeah, that's true.

Speaker 4 (47:46):
Early on and when we started mixing Severance, I proposed
to Jacob I said, you know, why don't Why don't
you let me handle the folly, because the folly has
got to be is so integrated with the production movement.
If I want to take something out of the moon,
you know, production footsteps. I know exactly what I did,
and I know where it is in the folly because
they are they are so integrated together. And the process

(48:10):
of the way that I prepare for a mix is
I mixed the dialogue all the dialogue first, so I
am just concentrating on the dialogue for the scene. But
while I'm mixing the dialogue, I'm thinking to myself, Okay,
I'm going to need folly here. You know, when I
get to the final, I'm going to need to add this.
I'm going to need this inreating myself as I'm mixing
when it comes time for you know, time for the final,

(48:31):
what I'm going to need and maybe what I don't need.
So that's where I handled the folly in addition to
the dialogue.

Speaker 2 (48:38):
All right, I got another one of those palate cleansers.
Did either of you guys have any interaction with the
Goats either season? Were you ever on set with the
Since you don't get on set and probably not, but.

Speaker 4 (48:47):
Yeah, I heard they were a lot of fun. They
would your shoelaces and bite your pants.

Speaker 2 (48:54):
Well, now, I also heard there were great sound performers,
that the sets.

Speaker 3 (48:57):
Was so good that you got Yeah. I wanted to say,
like the hero goat when we see that one individual
goat that you know we see is like a character. Emil, Yeah,
that that goat is. That's all the the actual performance
of the goat. I didn't add any enhance or add
extra goat sounds or change the goat sounds. That goat

(49:20):
is a stellar performer. That goat should be up for
an Emmy.

Speaker 4 (49:24):
That, yeah, definitely you should have been nominated. Yeah, just
the goat's look like, you know, when there was buying
at the door and the goat looks at the door
at the same time as everybody else, you know.

Speaker 2 (49:33):
When we talked to Kat, she said that the goat
was growing so quickly. When they made that chamberer for
the goat to be placed in, she said, we had
to keep changing it, making it bigger because the goat
was growing to make the goat fit in there. Yeah,
a lot a lot of weird challenges in this show.
I'm going to focus in on one episode in particular.
We've been talking kind of in general about this sound design,

(49:55):
but Vinnie P And I are both just blown away
by every thing going on in woes Hollow? Can you
tell us? And you were also outside of those usual
environments where you have these kind of sound setups in place,
so you had something entirely new that you're having to
create for. Can you kind of talk about building Woe's

(50:16):
Hollow and all the trickling water, the drips, the reverb
when they get in Scissor Cave. How challenging was all that?

Speaker 3 (50:23):
Yeah, and the rev and the echoes at the very
beginning of the episode when Irving's out on the lake,
you know, calling up tomorrow on top of that mountain there. Yeah,
I mean that was great. It was like cutting loose
after being cooped up inside for twelve episodes or something
and then suddenly getting to be outside and there was

(50:43):
a hole. There was a lot of work that went
into it. They had me do a pass at the
opening early on and almost like a year later, because
it took us a long time to get through that
second season because of the strikes. You know, I did
a pass. I gave it to them. They put it
in the Avid. They used it and cut with it
for about a year and then came back to us.

(51:05):
Just the just the palette, the different flavors of that
outdoor space, just that by itself, you know, the lake,
the trail up the mountain, the top of the mountain
later on at night, the campground area, the stream, the waterfall.

Speaker 4 (51:23):
The largest waterfall on the planet.

Speaker 3 (51:25):
Yes, you know, so all of that was that was
a pleasure Schmorgasbord to dig into, to get to do
all the sound for that.

Speaker 4 (51:36):
For us, what was great about it is that this
was the innies. This is their first time in the
outside world, that they were experienced the outside world, so
everything to them. We took the idea that this is fresh,
this is the first time they're going to hear this stuff,
so let's make it big and wide. Except for hell

(51:56):
because she was an audi right.

Speaker 2 (51:58):
Or yeah, yeah, well yeah she was. Yes, she was sneaking.
Helena was sneaking in that trip. Yeah, okay, got jumping
forward to the finale in season two, we heard that
there were some groans needed at Milk Chicken ker or
doing their stick up there in front of it, and
that we needed some audience groans, and you guys may

(52:19):
have provided some of those, tell us what happened there.

Speaker 3 (52:22):
That was also, you know, we had sort of more
of a canned some actually they had done this in
their af you know, in the Avid, and there was
some more kind of like a stock canned reactions. Ben
started to say, you know, it would be great if
the reaction was a little more real and human and

(52:43):
the sound of disappointment and everything. So there wasn't like,
as I recall, there wasn't time to do it in
any other way, like it was a thing that had
to be done overnight or something. So I it was me,
and it was the mixtech Basha and maybe one or
two other people that I grab from around gold Crest.

(53:03):
We just recorded wild We recorded reactions you know to
what they were saying. Just did it in my cutting room, yeah,
and cut that in.

Speaker 2 (53:12):
How often does something like that happen where you just
it's like we need a little something, you know, I'm
gonna drop a pencil on the desk and record it
right here.

Speaker 3 (53:19):
It happens pretty often, I would say, you know, it
happens on It probably happens on every show, on every job.
At some point you do a lot of preparation. We're
really prep heavy. And yet for all that preparation, invariably
when you're there and you're mixing, someone comes up with
another idea. Sometimes all those ideas that you prepared surf

(53:40):
to get everyone to a new place, and then a
new idea crops up, and then you don't have the
time to do a lot of careful preparation. So that's
when someone will like jump into a booth, or we'll
grab a mic and record something on the spot.

Speaker 2 (53:54):
Bob, you're got any stories like that, things you've had
to record at the last second to fill in.

Speaker 4 (53:59):
I got to think about it. It's we do that
quite often. Well, you know, there's there are some jobs
we've had a microphone on the set, on the on
the stage just so we can record a hand movement,
even for the director, or somebody wants to add a
loop group where somebody in the back saying a word.
Ron Howard would do that all the time. He would,

(54:21):
you know, he say, hey, you know, there's two guys
behind the door here, why don't you know I need
and he picked two people in the studio come here,
can come up to the mic and he would direct
you and ask and tell you what to say. We
would record it and it would end up in the film.

Speaker 2 (54:33):
Do you use the term loop loop Group used that
one a few times. You can you explain that what
the loop is?

Speaker 4 (54:37):
Loop group is a There are a few companies that
do it. For example, if if you were to film
a scene in a restaurant, and in the restaurant there
are two people, You and I were sitting at a
table and we're talking, but the restaurant is filled with
other guests and everybody's having a conversation. Those actors, they're
trained actors to actually look like they're speaking, but they're

(54:59):
not saying a word. They're just mimicking talking. So they're
loop group artists that their job is to look at
that scene and put the words and put that. You know,
they'll fill a room with ten, you know, twelve Loop
Group actors and they'll throw up the scene of the
restaurant and they'll all just talking to each other and fill.

Speaker 2 (55:22):
Up the create that atmosphere.

Speaker 4 (55:24):
Create that atmosphere.

Speaker 2 (55:26):
Yeah, that's cool, all right. Do you guys want to
check on the elevator? You want to talk elevator?

Speaker 4 (55:30):
Yeah, Jacob, do you have your you gave that to
me last time. You gave me your your recipes, your ingredients.

Speaker 3 (55:37):
I don't have my recipe. Unfortunately, I don't have my
recipe with me.

Speaker 2 (55:41):
But well I've got a little bit. I've got a
little bit of it here in my notes here. Under
normal circumstances, a B flat tone is played when the
elevator arrives on the severed floor. If something weird is
going on, like Kelly attempting suicide or Helena arriving when
it was supposed to belly, we get a B natural tone.

(56:03):
The B natural tone seems to be the one indicating
that something is wrong. Is that real?

Speaker 3 (56:10):
You know? I wish I could take credit for being
that thoughtful and premeditated about the pitches, but it's not
quite that scientific. I would say that going in, there
were two standard pitches, one for the when anytime the
door opens and closes, and one that's part of the
actual process of them transitioning. What I started to find

(56:34):
was that, sometimes, depending on what the score was doing,
the pitch of the either one of those was not
sitting in well with the score. So I would change
the pitch so that it just kind of sat well
with the score. So that's really the explanation for the
variations in pitches really, so that it plays with the score.

Speaker 2 (56:58):
Ah okay, now, now when we got to though the
Helena impost down on the severed floor, it became very
apparent early on to a lot of people that you
were messing with the tones. Something wasn't there. So what
was missing when she went down that didn't switch her?
It was that second tone.

Speaker 3 (57:18):
Oh, I see what you're saying. Yeah, probably probably, yes,
probably that that interior tone, the one that's part of
the process.

Speaker 4 (57:28):
There was that Fritz sound effect. There are some things
that take out.

Speaker 2 (57:31):
Then there's just a full ding that happens that changes.

Speaker 3 (57:36):
Aside from the dings, you know, there's there are all
these other things going on, Like there's a crackly sound
where I sunk up a really high high pitched beep,
like tiny little high pitched tones with static and sunk
them up together to create one sound. So when you
see their their eye lids fluttering, that's when you hear

(57:57):
that sound. That's like the that's like the key moment
when things are really changing with the chip in their brain. Right,
there are tones that going in that sort of blend
with the ramping up and then the ramping down of
the elevator motor. But there's stuff that goes with that,
that's that's more tonal, you know that that gives you that,

(58:19):
you know, just a rise and then the fall. There
are also some impacts when the elevator, when it ends
and the elevator stops. There are some really low end
impacts in there.

Speaker 2 (58:29):
Kind of a deceleration happening at the end of it.

Speaker 3 (58:32):
Yes, yeah, exactly.

Speaker 4 (58:34):
And going back to where Jacob en mentioned earlier that
we didn't read the scripts for the whole season and
we were like, I was watching the episode only a
week before I would mix it, so I wasn't that
far ahead, and I didn't really know what the whole
storyline was when we had mixed that episode two, when
Helly comes out of the elevator at the end and

(58:54):
there was no ding, and then that episode aired, I
kind of remember that everybody was all talking about that,
and I texted Jacob and I said, we screw up
and not put it put in a thing because then
it wasn't until later on that we realized that she
was you know.

Speaker 2 (59:12):
Ah, that you were you were a party to a deception.

Speaker 4 (59:16):
There yeah, because we wanted to be just as surprised
as the audience to know, and then we would get
excited about the episode, and then we would talk about
some of the sound designs. We did that a lot.
One of the ones with the flashbacks when you go.

Speaker 2 (59:31):
To the cheek I Bardo.

Speaker 4 (59:33):
Yeah, yeah, that one. We watched that for the first time,
and then we spoke quite a few times about the
sound design, what we were going to do every time
we went into the it was thirty five millimeters footage.
She was actually you know, Ben was filming it in
thirty five millions. We did a sound design effect for that.

Speaker 2 (59:50):
Guys. I want to change it up a little bit here.
I have a Patreon page, and on the Patreon page,
the folks who are on there supporting me not only
huge severance fans, but we also like to involve them
in things like the interviews. So I called them the
patron refiners, and I alerted them that we were going
to have you guys on as a guest, and I said,

(01:00:10):
what would you like to ask them? So these are
questions from the patron refiners. Patron refiner Ka was wondering
how you audition for a job like this and what
is the hiring process in this field?

Speaker 3 (01:00:24):
Well, like we said a little earlier, in this case,
the hiring was done on Escape a Dana Mora. So
that was a more conventional situation where I went in
for an interview with Ben. You know, I don't know
how many other people they may have spoken to, but
I was lucky to be the one who was hired,

(01:00:45):
and I strongly recommended that I wanted to work with Bob.
They met with Bob and you know, they they hit
it off, and so that kind of, you know, that
set the stage we sort of once that went and
that went, well, we were they just came to us
for seven and said, you know, we'd love you guys
to work on Severn.

Speaker 2 (01:01:03):
So now for a scape at Dani Moro. Is that
something that they put out a request for, you know,
people to apply or how did you get word that
they were looking for someone and you got in on
that application process there?

Speaker 3 (01:01:15):
I think part of it had to do with the
the the prior supervising sound editor who had been working
with Ben was not available, I think, to do the show.
So I did not not that he formally asked me,
but he I did meet him one day and had
some dinner and he said, do you work on episodic stuff?

(01:01:38):
And I said, you know, I haven't really done a lot,
but I'd be happy to. And that's all he asked me.
And I'm trying but then I can't remember all the details,
but I did. There was outreach on my part because
I was very interested. So I reached out to the
post production supervisor on that who then was also the

(01:01:59):
post producer on the first season of Severance, and he's
the one who then set up an interview.

Speaker 4 (01:02:07):
Yeah, and once Jacob finished with his interview process, he
had mentioned my name to them, and then I got
a phone call from the pro supervisor and he said, hey,
why don't you come down, And you know, Ben wants
to interview you for the for the job. So I
was like, oh, but you know, you get all nervous.
I got to go to you know, Ben Stoller, go
to his office in Manhattan. You go in there and

(01:02:28):
you meet all the editors, you meet Ben, and you know, like,
I hope I have the right answers because this was
Ben's first time doing episodic television and I had done
that for a long time. You know, they were asking
me questions and I was able to, you know, tell them,
you know, the way I deliver shows how shows, you know,
TV's a little different than a film delivery, things like that. So,

(01:02:49):
you know, the interview went well enough that I went
home and a few hours later I got an email
that Ben was offering me the job. And then Jacob
and I did did the full mix, went great, and
when he I think by the time we finished Danamore
he was already in the development of Severed of Severance

(01:03:09):
and he mentioned to us, Hey, I got this show
coming up, okay, and you know, I love you, love
for you guys to do it. And a few years later,
but Dana Moore definitely opened the door for us to
do the work. And we also just finished another show
for Ben Stiller and Mira. He did a documentary about
his parents.

Speaker 2 (01:03:29):
Yeah, I've seen information about that. Really looking forward to
seeing that. I want to see that show. Then, did
the other subcontractors, the Loop Group and your fully people
as they come out of your recommendations or they were
hired at the same time you were hired.

Speaker 3 (01:03:43):
Part of what I do as the supervising sound editor.
The supervising part of that is gathering together the crew,
the team that's going to do this. So it ends
up being mostly where I'm hiring people that I like
working with, you know that we have a good track
record together.

Speaker 2 (01:04:02):
Refiner Phil p had a request or I had a
question for you here. The first part of his was
something we've talked about already, the practical versus using alternate
objects for sounds, but he was also curious, are you
using any computer created or computer augmented sounds in the mix?
Are you generating things with the computer?

Speaker 3 (01:04:20):
That's an interesting question, maybe not in the way one
would initially think about it, but there's a lot of
manipulation that goes on of the sound, meaning there's a
lot of changing of pitch, bending of tones, you know,
adding using reverb and doing things that really bends and

(01:04:41):
twists the original characteristic of the sounds. So there is
that that goes on. You know, there was there also
were eight you know, eight bit computer game sounds from
the nineties or from the eighties that were used for
you know, I found like a collection of those and
those were used for all of the refining sounds. When

(01:05:03):
whenever we see the screen and the numbers, you know,
there's there's like I love this, Like, one of my
favorite sounds is that floating sound when the numbers are
just floating. I love that sound. I don't know why.
And then you know that when the numbers go down
the shoot, there's a sound. So there's some specific sounds
that have their origins in back in the eighties nineties

(01:05:24):
eight bit.

Speaker 2 (01:05:24):
Stuff, but there's something that existed that you've grabbed and
utilized right or.

Speaker 3 (01:05:29):
Even manipulated and changed or you know, glued together some
different things.

Speaker 4 (01:05:35):
But usually you're you're auditioning hundreds of sounds and then
you find the one that works. You know, You're like, nope, nope, nope, nope, nope,
that's it. I could take that, I can work with that,
I'll pitch it, I'll change it, and then sometimes you
want to layer another sound on top of it. But
it's one of those things you just listen to the
sounds and when you hear the right one, you know.

Speaker 2 (01:05:55):
It's there all right. Patron refiner Martin d And Martin
usually has multi multi part questions here. His first one
is more of a fully question. He's wondering, did you
record the sound of harmony drilling into PD's skull and
what did you use to get the sound of the skull?

Speaker 3 (01:06:13):
You know, as I recall, actually that sound was really
good in the production track, so they there was something.
There was something in production they were whatever they were
using on the set, like some kind of drill, because
I don't think they're talking at the same time as drilling.

Speaker 2 (01:06:31):
Right, she was doing it quietly.

Speaker 3 (01:06:33):
Yeah, yeah, so that was I remember that that that
was really the basis of that sound. I may have
augmented it with something, but in terms of the actual
skull sound, I think we may have gotten lucky there.
Oh okay, I'm not saying they used a real skull
on set, you know.

Speaker 4 (01:06:51):
But yeah, no, but yeah, it was sweetened a little bit.
But the drill, the actual sound of a drill we used,
the real production sound.

Speaker 2 (01:07:00):
Is all gathered in the field.

Speaker 4 (01:07:01):
Yeah, that was because that's a real drill that they
used for performing brain surgery.

Speaker 2 (01:07:07):
What you call it a cranial drill. I looked that up.
It is really it's really a cranial drill.

Speaker 4 (01:07:13):
Martin.

Speaker 2 (01:07:13):
Okay, Martin with another point is question here he's wondering,
and this time we've kind of talked about to what
extent you're using sounds subliminally. We've talked about the breath
sounds is background in the hallways. He's curious, what sounds
are you using to create a feeling of unease in
MDR or down on the severed floor.

Speaker 3 (01:07:31):
You know, I think like us, there's using the fluorescent light.
Hum is a really annoying sound, especially to Bob.

Speaker 4 (01:07:39):
So it works so hard to take it out and
dialogue and Jacob puts it right back in.

Speaker 2 (01:07:45):
Yeah, add it back.

Speaker 4 (01:07:46):
Come on, you got to help me out here.

Speaker 3 (01:07:49):
You know. So so that was something to sometimes use,
as you know, like some of there's some great camera
angles that are up where the camera's like right up
at the ceiling, right near the light. That's when you
would hear more of that sound. I don't know, It's
just so many textures of sounds that I don't know.
I have a lot of recordings and stuff in my library,

(01:08:10):
and it gets to where I'm looking for textures and
it gets to where I don't really even know. You know,
I'm not even sure what the sound is derived from.
You know, I may go to some general category and
maybe like servo motors or you know, industrial sounds or
some sort of mechanical sound, but after a while, Like

(01:08:30):
Bob said, I'm just like very quickly listening to things
like no, no, no, no, no.

Speaker 4 (01:08:35):
Oh.

Speaker 3 (01:08:35):
Yeah, that's an interesting sound. Let's grab that.

Speaker 2 (01:08:37):
Do you ever utilize you know, they're going back years
and years the Tanner Cat tracks. There are existing sound
effects libraries out there. Are you using any library sounds
or are you generating all of the sounds that you
have in your stories? Those are all things you've created yourself.

Speaker 3 (01:08:52):
No, I'm using I am definitely using library sounds. So yes,
those come into play, and there's a lot of them,
just to add that.

Speaker 4 (01:09:00):
Sometimes, you know, when you have the scene, just adding
a little low end, a little rumble room rumble is
enough to give you that uncomfortable feel and then.

Speaker 2 (01:09:07):
Make it just off enough to feel really.

Speaker 4 (01:09:10):
Especially an MDR which is quiet. But then if you
go up into some other you know, if you're in
the lunch room and stuff, then we get the high
pitch of the fluorescence and that makes it a little
a different level of them kind. But when you're on
the stage, it's you're listening to it and you say, Yep,
that's not working, that's not work up, that's it. Let's
do that, all right?

Speaker 2 (01:09:29):
Martin has what is possibly my favorite patron refiner question.
Here is third part of his question. Do you have
an example of a creative idea you thought might be
too weird or crazy, but when you took it to
Ben Stiller or the director on the show, they went
with it. And if you've got more than one of those,
that would be better.

Speaker 3 (01:09:47):
Well, I think, like what I mentioned before, using breathing
and breath as room tone, I thought that was too weird,
was too weird. I thought it was weird. I liked it,
you know, but I thought, I'm not sure if they'll
go for it. And in fact, you like I said,
they they said, yeah, we can use these, but let's
do it in moderation, and let's build up to it.
So it gets to where there's a carridor that leads

(01:10:09):
to the breakroom, this dark, narrow quarter, and that's where
the room tones are. There are the craziest, like there's
like just crazy layers of weird sounds and stuff that
go into that. But that you know, we don't spend
that much time in that corridor, but when we're there,
it's pretty weird.

Speaker 2 (01:10:28):
Is that also same kind of thing happening in the
corridor to the testing floor elevator. Yes.

Speaker 3 (01:10:32):
And on the testing floor I also pitched tones and
things that I had used in the most of lumen
for the testing floor. I changed the pitch of all
of that so that all of that would sound different
from the floor that we spend most of the time on.
So I was conscious to do that to give that
whole floor a different feel.

Speaker 2 (01:10:53):
The testing floor to me, has a little looser, like,
not as closed in and tight as the Severn floor.
Is that intentional? Does it feel a little more open?

Speaker 3 (01:11:01):
That was not intentional? But maybe that's a function of
me having pitched it all differently.

Speaker 2 (01:11:07):
It could be, and it might just me my how
I'm hearing it, you know, it may be something that
someone else is hearing differently. All right, I got another
patron refiner question here, and this is really might might
be a fully question, But you guys may have the
answer to this one. When Bert arrives unexpectedly in MDR
when he comes to visit, he's bringing the tote bag
to show r Dylan grabs a stapler and wields it

(01:11:29):
like a gun and it makes some noise. Who did
the stapler sounds? How did you do that.

Speaker 3 (01:11:34):
Well, that would have been that was definitely fully for
the stapler. I mean, I don't think the stapler did anything.
It wasn't too crazy. It's not like it was making
you know, some you really.

Speaker 2 (01:11:45):
Heard it though, it really jumped out it popped.

Speaker 4 (01:11:48):
I do remember there was a couple of tracks of
different folly sounds for that, and I remember us auditioning
a few of them and then it's that same thing.
You find the one that's the one that works that
let's go with that one because it had it almost
had that gun rattle sound to it, right. It made
the Staples sound very scary.

Speaker 2 (01:12:07):
That also from from KS patron refiner KS wanting to
know about egg noises. Every time every time we see
an egg, there's always a slightly gross, squelchy sound. And
this is according to KS who makes these sounds. How
do you get just the right level of egg grossness?

Speaker 3 (01:12:26):
Well, that would be Marco Costanzo. Again, that's fully you
know though the egg is all fully. Now what they
use is, you know, it could be like wet paper, towel,
stuff like that. I mean they in the in the
Foley studio, they come up with a lot of stuff,
you know, wet paper, wet paper, tissues and stuff like
that usually is good for making kind of gory, uzzy,

(01:12:50):
grossery sounds, you know, So that that was something where
you know, Bob can tell you he had to like
approach that gingerly with a lot of moderation because that,
you know, those sounds that jump off the screen.

Speaker 4 (01:13:02):
If you're Ben and Ben is not a fan of eggs,
especially hard boiled eggs.

Speaker 2 (01:13:08):
No, not at all. I really think that all the
eggs are Dan Erickson just messing with Ben. That's what's
going on. Got one from Devin L wondering about the
creative process. How much leeway are you given? For instance,
were you told make an elevator ding that signals a

(01:13:29):
certain kind of change or just hey we're gonna need
sounds in the elevator. How how detailed do they get
with things?

Speaker 3 (01:13:35):
I would say it's the latter, like they gave me
a lot of license, a lot of creative license. Never
got too specific about it. But what I'll say is
that the the the images, the story, what you're watching
in the cut speaks for itself. So that's what really
inspires you. They're they're aaf the you know, the track

(01:13:58):
that they put together of sound effect when they are cutting.
The whole thing is Pharaoh is pretty well evolved. And
they will ask me for folders full of sounds, like
for the animatronic keere. You know, they asked me for
servo engine and I gave them like servos that have
a lighter feel, servos that have a darker feel, And

(01:14:19):
I labeled the folders light dark things like that. And
so I would do a lot of mining and sourcing
of sounds to then send to them for them to
cut in themselves and make their own choices, to then
give it back to us later on to maybe augment further. Yeah,
that's that's pretty much the way that process works.

Speaker 2 (01:14:39):
When there's a selection like that that happens, is that
usually how it happens. Is there ever a time where
they're coming into the studio sitting down with you and
kind of making those selections.

Speaker 4 (01:14:48):
Well, we might be doing a scene that there we
we've mixed it a certain way and we presented to
them on the stage in the studio, and then they'll ask,
you know, can we audition it, you know a few
other sounds, Let's see what else, you know, how we
can bend this and make it different, you know what
we maybe what we've presented on the stage, or maybe
we were overhanded, you know, on our design, or we

(01:15:11):
didn't design it enough and we wouldn't know that direction
until they were with us in this stage.

Speaker 2 (01:15:17):
I want to give a shout out to patron refiner
Joshua Gee. He was asking about how much you collaborate
with Theodore Shapiro, and we've kind of already talked about that.
Patron refiner matthew S was curious, have you guys placed
any sonic cues in the show that you thought, Oh,
they're going to hear this one right off and nobody's
mentioned it yet. What would we miss? What's out there

(01:15:38):
that you put out there and you thought, oh, they're
going to love this and nobody said anything about it.

Speaker 3 (01:15:43):
I don't know that that's a good question. I'm kind
of racking my brain on that one.

Speaker 4 (01:15:48):
It's tough to think, you know, because we worked on
this so long ago, you know, trying to remember everything
that we've done. I can't think of anything at the
moment now.

Speaker 2 (01:15:56):
The production cycle for season two pretty much which ended
end of last year, right November December, December December last year,
and what about season three? You guys had any word
yet when when that kicks off? I know they're in
the writing process right now. Are they starting to do
any pre production work?

Speaker 4 (01:16:14):
I haven't heard anything. I would imagine, you know, they
shoot in the winter.

Speaker 3 (01:16:18):
Yeah, I would imagine they're going to shoot probably this
winter ish. I don't know. You know, that's not official,
so I don't know, but yeah, we haven't. We haven't
heard much about season three yet.

Speaker 2 (01:16:30):
Okay, I have one more patron refiner question for you
from Kate k. What do you consider to be the
most outlandish or weird thing you've had to do so
far sound wise on the show? Drilling into a guy's skull,
that's pretty weird anything in that way.

Speaker 4 (01:16:46):
Yeah, well, I mean that one was pretty disgusting.

Speaker 3 (01:16:49):
That was disgusting. And the egg, you know, like we
talked about that that there's something about that that's that's
definitely disgusting.

Speaker 4 (01:16:57):
I remember doing that the drilling one, and my mom
is a big fan of the show, and I was like, Oh,
she's gonna love this scene.

Speaker 3 (01:17:04):
I mean, you know, I like that the doors, some
of the doors are really great, like the I remember
establishing some of the door sound. I mean obviously the
elevator door, but also like when Helly is trying to
when she there's that door that goes between the carter
and the stairwell that has that's that's got some great

(01:17:25):
you know, wishes and suction sounds to it. You know.
There's also the scene where Mark is having this procedure
done in his basement, you know, and there's a scilloscope
sounds and things like that. You know. That was that
was really good degree.

Speaker 2 (01:17:40):
Okay, one of my favorite actually, one of my favorite
effects you guys do there. I call it an avalanche sound.
It's where you max every frequency, the roaring sound that
happens when when Mark when she flooded the chip, he
got that roar.

Speaker 3 (01:17:53):
Oh in that same scene.

Speaker 2 (01:17:55):
Yeah, at the at the end of that where she's
working on him in the basement and you get that
roar that just completely maxes out everything. It's a full,
full spectrum amped all the way up right, I'm trying to.

Speaker 4 (01:18:07):
I think that's kind of a combination of sound effects
and music, you know, working together.

Speaker 2 (01:18:13):
Well, if you're listening in headphones, it gets you shit, yeah,
it really gets.

Speaker 3 (01:18:17):
You back and listen to that. Now that you're talking
about it.

Speaker 2 (01:18:21):
Yeah, I've always called I've always referred to it as
an avalanche effect where you have you max out from
you know, twenty to twenty thousand hertz. Everything's maxed out
at plus dB or whatever. It compresses your head a
little bit when you're listening at headphones. It's kind of
how it works. Well, guys, is there anything we have
not talked about that you're thinking, Wow, I can't believe
he didn't ask me that. I don't know.

Speaker 3 (01:18:41):
I think just to make a special mention to the
episode Jokai Bartow because for me, that was my favorite
episode to do sound design for. Because the thing about
that episode is is you're taking all these established sounds
that have led up to that, and now it's all
those sounds but in a fever dream. And the whole

(01:19:02):
episode is like between flashback and it's very dream like,
you know, like going down the cable, down the pipe,
you know, through the cable. There's one I think they
called it the Japanese Dream. It's it's it's like it's
just a very kind of cool, washy, you know. And
and I got a chance to take as source material

(01:19:22):
all the stuff we had done for lumen sounds and
then just turn it on its head. I think that
was a that was an especially creative episode that I'm
proud of.

Speaker 4 (01:19:34):
We did it.

Speaker 3 (01:19:35):
We did an extra spotting session with Jessica, the director
of that episode, so I you know that that is
one of them.

Speaker 4 (01:19:43):
That's a that's a good example of where we would
watch the episode before we mix it, and I would
discuss with Jacob the sound design, and we came up
with the idea of for all the thirty five millimeter
every time we went back in time with the thirty
five millimeter footage, we would squeeze all the sound into
mono and make it sound like, you know, an all
thirty five millimeters.

Speaker 2 (01:20:04):
Oh okay, you.

Speaker 4 (01:20:06):
Listened to it in five to one, you'll notice everything
gets sucked into down and then when we open up
into the you know, present day, then we're back into
the Adobe atmos.

Speaker 2 (01:20:16):
I just finished doing the rewatch work on that episode
and it went to three parts. I talked nearly four
hours about that fifty three minute episode. There's a lot
going on. I was in there.

Speaker 4 (01:20:28):
It was an idea that we had. We didn't know
if it was going to work. We were like, okay,
let's try this.

Speaker 2 (01:20:33):
And definitely, I definitely I was aware of the change,
but I didn't know what exactly you were doing. And
that makes perfect sense now based on what I was
hearing is how you're doing that. But yeah, it's it
definitely definitely changes the impact of those scenes. Well, all right,
I got one more fun palate cleanser for you. If
you guys had your own MDE what type of music

(01:20:55):
would you have chosen? Vinnie said he'd have been body funk,
and I'd have been on defiant jazz there with Helly,
So what what would you guys like?

Speaker 4 (01:21:02):
Oh, boy, I don't know.

Speaker 3 (01:21:04):
I think I'm more with Vinnie on that, you know,
because I love funk, But I don't know. That's a
hard one.

Speaker 4 (01:21:10):
All right, some red hot chili peppers funk, you know.

Speaker 2 (01:21:14):
There you go, there you go, yeah, all right, we'll
get some chili peppers going. Well, Bob, Jacob, thank you
so much for your talking to us. Appreciate your time,
and best of luck when the fall rolls around on
those Emmy nominations.

Speaker 4 (01:21:27):
Thank you.

Speaker 3 (01:21:28):
Yeah, it's been a lot of fun.

Speaker 4 (01:21:30):
Well, actually it's next week. We go out Friday.

Speaker 2 (01:21:33):
It's next week, all right, Next week. So all right,
well we got our fingers crossed for you. Man. It's
the fall is here, isn't it.

Speaker 4 (01:21:38):
Yeah?

Speaker 2 (01:21:39):
Wow, we'll have have fun. That's going to be awesome. Well, guys,
thank you so much for taking the time and we
appreciate it.

Speaker 3 (01:21:45):
All right, thank you, Yeah, thanks a lot, Take take care,
appreciate it.

Speaker 2 (01:21:49):
Oh man, wasn't that cool? A huge thanks to Bob
and Jacob for taking the time to talk to sever
the Ultimate Severance Podcast. Next week, we're back into the rewatch.
When we open the file, Sweet Vitriol stay subscribed. Volunteer
producer of VP is tracking down even more Severance crew interviews.
We'll keep mixing them into the feed as we complete
the season two rewatch. We've got one more commercial break

(01:22:12):
right here. Then we'll run the clothes. If you're heading
for the elevator now, refiner, remember to please stagger your exits,
and here come more commercials.

Speaker 5 (01:22:25):
You've been listening to Severed, The Ultimate Severance Podcast. Severed
is written, produced, and hosted by Alan Stair.

Speaker 1 (01:22:33):
Severed is not endorsed by Red Hour Productions, in Never
Content or Apple TV Plus. This podcast is intended for
entertainment and informational purposes only.

Speaker 5 (01:22:43):
Severance, the Severance logo, and all video and audio of
Severance and Severance characters are registered trademarks of Red Hour,
Endeavor Content, Apple TV Plus, or their respective copyright holders.

Speaker 1 (01:22:55):
Please make sure to leave a five star rating and
review for Severed at Apple Podcast experien

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