Latest / The BSB Podcast / Exclusive Interview: Supervising Sound Editor Christopher Gomez of 'Beef'

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Exclusive Interview: Supervising Sound Editor Christopher Gomez of 'Beef' · The BSB Podcast

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  As the supervising sound editor for Beef,
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  Chris Gomez helped shape the series' emotional and sonic landscape,
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  crafting everything from sub ambient details to moments of gripping tension that
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  deepen the storytelling. And today we're chatting with him about his work
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  on this production. Thank you so much for being here,
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  Chris.
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  Thank you so much for having me,
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  Brian. I appreciate it.
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  I just want to begin by congratulating you on your Emmy nomination
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  for Beef Season Two. How does it feel to receive that nomination?
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  ~ it was very surreal. It's my very first nomination,
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  so it was just a whirlwind of emotions and having to go through,
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  you know, the phone calls, the texts,
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  and it was just, you know, having to getting the chance to go and tell
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  my wife of like I'll all I said to her was,
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  Hey, do you wanna go to the Emmys?
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  And she was like, my God. And she freaked out.
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  So that was just a a joy. And my daughter was next to us.
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  She's like, wait, what? Like she she's she's eight.
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  So she's very much like, What's going on?
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  so it was very exciting. But it's just been it's been such a joy and it's been
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  ~ yeah, it's it's been it's it's been a lot of fun.
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  It really just shows you how much incredible work you've put into this series
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  and like it's good to be ~ recognized for that.
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  So again, like congratulations.
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  That is such a cool honor and to kind of cap off what is an incredible show.
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  Thank you so much. Yeah. It really it really is.
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  Like we're so proud of y this season and the immense amount of work that went into
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  it. And we we couldn't have been more proud of it.
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  So beef blends dark comedy, drama,
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  psychological tension, ~ in a way that most television shows you don't really
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  see have that kind of ~ the blend the way that this does.
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  How did that unique tone shape your approach to maybe sound for season two?
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  Season two was very much a blank slate going into it just because
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  we we still wanted it to feel like it was in the realm of season one,
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  but tonally and just you know,
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  the story itself was very different from season one.
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  So we wanted it to be very specific to this season.
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  So it was very much a the conversations that we had with Sunny,
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  Lee Sung Jin about our
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  kind of approach to the season was very had to be very polished,
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  very clean. You know, we wanted it to feel very much we're we're
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  in these locations like the country club and ~ you know,
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  Piki Park in ~ in in Korea. We wanted these locations to just feel very much
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  ~ that was kind of the direction that we were given.
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  So it's like how do we approach that and how do we go about creating this whole
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  thing? So it was very mu ~ it was very much a ~
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  How do we build this from the ground up again and make this feel true to the show?
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  So are there times where you have to like balance like the the sound connectivity
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  of season one while this is all its own in identity while also having
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  its own identity for season two?
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  Or like is it just a a complete departure?
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  Thankfully, kind of the the thread through both seasons has always been making
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  the show feel grounded in realism.
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  So we never wanted to stray too far from it unless it was absolutely intentional.
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  You know, you would know it. And there are plenty of moments in both seasons where
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  that happens, especially with this season.
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  You know, there's a lot of moments of where we kind of just break that,
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  you know, the whole concept of realism and you know,
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  Sure.
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  ost
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  you know,
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  Josh, when he has, you know, takes the the buffo hit and he's just in this world,
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  you know, that's all intentional.
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  But what through through the entire thing,
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  it was very much, you know, how do we make everything feel real?
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  And thankfully, that was kind of the approach going into season two as well.
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  You know, and and it's very mu that's kind of whatever we do,
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  it has to be, it has to feel like it's it it belongs in the space.
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  So sonically we we never wanted to stray too far from like is are we
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  are we pushing it to you know to to some extreme limit of where it doesn't feel real
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  anymore. So thankfully we kind of had that to always the you know,
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  we the grounded portion of it always kept us grounded.
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  Now would you say that grounded is kind of like the sound sonic fingerprint
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  of the show, or do you feel like there's another like way that
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  you would define season two of Beef Sonic?
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  season two was very much a slow build was the kind
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  of the the
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  the discussion that we talked about a lot.
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  And it was done through, you know,
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  ~ through picture editorial to through sound of everything always had
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  to have this gradual build, you know,
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  and it kicks off even just with the opening of the show.
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  The whole entire cold open, it starts off and you it just it it it
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  all slowly builds in this tension to that final release of when Josh
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  and Lindsay are arguing and, you know,
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  she's breaking everything and it's just this
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  culmination of just sound and tension and music is all kind of,
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  you know, pushed us in this direction.
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  And then all of a sudden it's just this like release of like the,
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  you know, the kids there and he sees them with the f the f the phone
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  and it's just like, shit. And then it's just this like the audience gets this like
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  ~ kind of breath, you know, the the the the exhale if you if you will.
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  And it happens through and through
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  Throughout the season. You know,
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  episode four, where when they're in the hospital,
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  that happens the same way as well.
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  Like, you know, when Ashley kind of goes into this moment and stuff
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  and we're building the music's building and everything,
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  she's going back into the surgery.
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  And it's just again, it's like this just slow build until it finally hits that,
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  you know, ~ the we call it the wormhole of when the lights kind of cr cross over
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  one another and we see this beautiful painting in the image,
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  and then it goes to black. You know,
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  but again, everything before that kind of just swells up.
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  ~ so that was kind of through and through we kept wanting to do that
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  ~ with different moments. Always wanted to slowly build tension until finally like
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  just releasing it from the audience at a very,
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  you know, specific moment.
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  That's such a gripping psychological way to do it too.
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  Like you're taking that you're making them like sit on the edge of their seat
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  as they're waiting for that moment to have the release because audiences need that
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  release and to finally give it to them.
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  But to have that slow build, that has to almost be a little bit fun to like,
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  you know you're gonna take audiences on that ride and they're just gonna have
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  to sit through that uncomfortableness as they get to the end.
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  Yeah. And the fun part about it is it kind of,
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  you know, it all obviously we know the intention of when it's all gonna happen,
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  but the hope is always as you're watching it,
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  it kind of just creeps up on you.
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  You know, you're sitting there,
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  you're in this moment, you know something's happening,
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  but then it just it doesn't automatically just hit you over over the head with
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  a hammer. You kind of are slowly dragged into it before you're like,
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  wait a minute, where am I going?
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  And you're all of a sudden you're along for this ride.
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  You can't you can't back out of it.
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  And then eventually, you know,
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  it drops you out of it at the very end of your.
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  my God. Okay. And you know, and that happens all throughout,
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  you know, even with like comedic beats.
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  You know, we have to always make sure we hit these like comedic beats throughout
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  the show because the comedy is is very much it's it's a tough thing to kind
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  of on a show like this, you know,
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  Sunny is very intense, you know,
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  he's he's so good about just interjecting these moments of just
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  the perfect comedic timing, you know.
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  So we want to make sure we hit those moments right.
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  Even those have it's just little kind of little waves that we kind of
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  go through of just like ups and downs throughout ~ throughout these moments.
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  What I love about that too is that with a series like this,
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  when you finally get that a little bit of comedic relief,
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  ~ it's almost unexpected in a way when it happens.
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  But again, it's like it's the right moment where you need to like I have
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  to release a little bit of something here,
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  even if it's just like an awkward laugh or something,
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  to be able to kind of move on with the story without getting almost too as audience,
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  you don't want them to get too uncomfortable with that.
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  yeah. And that's the thing is with,
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  you know, with the show, it's very because it is,
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  it can be so tense. There are these just great moments of just like,
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  you know, whether it's a look or our actors were so good at just even delivering
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  a line a certain way or giving a certain look,
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  it would just kind of help with those moments.
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  ~ and then sonically, we always wanted to make sure that we're backing those
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  up with just either, you know,
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  making sure the sound doesn't step on those moments or the sound just kind
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  of helps it, you know.
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  Just a little bit, you know. So it it it was always it it's such a fine line
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  to to try to nail those beats.
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  How do you like what is your process for that almost deciding like we're going
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  to let the s like we're gonna let the the dialogue of the moment have
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  its moment or we're gonna use the sound to kind of push it a little bit?
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  A
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  lot of it is conversations that usually happen during ~ spotting sessions.
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  So I'll sit down with our picture editors and with Sunny and and Jake as well.
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  And we'll go through and we'll talk about ~ we'll talk about those moments.
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  So we'll talk about like, does this need anything sonically to help it out?
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  Or do we want to stay clear of it because the joke is in the words that they're
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  doing or maybe the look that they're giving?
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  So we don't wanna make we wanna make sure we stay clear of that,
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  you know. So it's very much a a conversation of like when
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  And and there's you know, there could be moments of just like,
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  okay, do we do we try a different sound here?
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  I'm not sure, you know, but let's let let let's let's talk about it first
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  and see what's gonna be the right thing for this moment before
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  we actually start just throwing stuff,
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  you know, against a wall. We don't we we try to avoid just kind of,
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  you know, just blankage let's try everything and then let's see what works.
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  We try to at least have a a discussion about what's gonna I be be right
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  for this moment.
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  That collaborative vision all working together.
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  Yes, and collaboration was such a huge thing this season as well.
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  You know, every everybody was always we were always in discussion with one another.
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  We always spent we all spent so much time with with each other all through
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  our final mixes of making sure that,
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  you know, everybody's ideas were heard of just make like,
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  let's try this or what about this?
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  Maybe maybe that sounds not working,
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  or maybe we add a little bit more of this.
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  Hey, I know we kind of went, you know,
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  the went that first
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  It during the opening fight sequence when we first cut into the shot inside
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  of the ADU and Lindsay's just bashing the glass.
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  You know, that was a fun one because it was like it's loud,
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  but can we push it a little further?
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  Can we make it a little bit more jarring?
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  Like, okay, great. You know, let's try that
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  Yeah.
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  and let's see how it works. And everybody was,
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  you know, it's like it it that was always kind of that was that was a
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  lot of fun this season of of of everybody getting to collaborate and
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  put in their ideas to kind of give us this final
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  product that we had.
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  And it sounds like that's also a moment kind of like in the production process where
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  sounds not just like reacting to what's happening,
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  but it's actually influencing the storytelling going on.
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  Yeah, yeah. It's a lot of fun when that gets to happen.
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  ~ there's you know, yeah.
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  Is there a specific like scene where you feel like sound design was prob like
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  the most important aspect of the storytelling tool beyond just supporting
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  the visuals?
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  That's
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  very good question. ~ there's a few moments where I think that happens.
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  Episode four is the one that comes to mind ~ with the hospital,
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  where there's so much stuff happening in the background.
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  And if you sit down and you listen to it,
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  and and what I loved about it was that every time you sit down and listen to it,
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  you'll pick out something different.
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  You'll notice something different of like,
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  what's what's that that I hear?
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  There's all these very kind of intentional sounds that were placed all over the,
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  you know, all over that episode.
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  ~ and that was kind of this thing of just the emotion of we wanted
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  to feel like hell. We wanted to feel like I need to get out of here.
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  I need to get out of this by the time you were finally out of the hospital.
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  It's just kind of this like sigh of relief of like,
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  my god, thank God it's over. ~ that's one episode that comes to mind.
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  The other one that
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  Like you said, that doesn't just strictly support the visuals,
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  but is kind of, you know, where where we use it more as a storytelling ~ aspect
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  is ~ in the final episode in episode ~ episode eight,
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  when there is escaping the the clinic and we have this amazing just wonder,
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  the one shot of just the fight sequence.
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  You know, Lindsay punches Chairwoman Park and after the the ~ after Dr.
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  Kim's you incredible speech, and they're running through the hallway,
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  and then we're just in this wonder shot.
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  And they get into this fight ~ with all the Korean guards.
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  And it was one of those things where sonically we didn't want it
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  to feel like like a John Wick movie.
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  It was very easy to go that route because we want to just be everything
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  Sure.
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  aggressive and you know, super punchy.
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  But it was one of those things where we actually use sound to ~
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  dial everybody back so that it felt more like these people don't actually know what
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  they're doing and they're kind of accidentally falling into this really awesome
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  moment of them fighting their way through these guards of you know
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  the Lynn or Ashley runs over and she starts hitting the guy with the mallet.
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  But the mallet sounds so weak.
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  Cause it's very sh you know and the idea is like she doesn't have a
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  lot of driving power to it. So it's just very you know very kind of like
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  It was very easy to just make it punchy and hitting her hitting them in the chest,
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  but it's like that's not really what's happening.
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  We don't want her to feel that way,
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  you know, and it's like Lindsay's vomiting just at the right moment when somebody's
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  throwing something. So it's just like all these kind of there it's so it's
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  so well choreographed, but we wanted to make sure that through and through it was,
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  you know, rather than just support the visuals,
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  we wanted to still tell the story of like they don't really know what they're doing.
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  And this is all on accident. So it should kind of be sloppy and a little bit like
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  messy of they're not really kind of they're not really sure what they're they're
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  not professional fighters. They don't do this for for a living.
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  They really are just fallen they have fallen into this moment.
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  So how do we kind of make that come to life?
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  That's such a cool thing to think about.
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  Again, like and like you said,
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  audiences maybe aren't even cognizant of that,
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  but be able to to have all those different moments of like to think about like
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  somebody doesn't have energy. It's sloppy because they're not fighters,
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  like all those pieces that go into making that one scene work from start to finish.
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  I mean, that's that that's such a beautiful way that sound design works in
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  in a show such as this.
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  Yeah. And that took that one that scene took a lot of work,
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  you know, because we did. We started off.
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  It was like, do we make everything big and punchy?
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  And then we tried it. We're like,
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  no, you know, it was just like this isn't feeling right.
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  It's it that's the kind of fun part with sound is you can have the ability
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  to try these things and take, you know,
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  take a s take a swing at it and be like,
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  you know what? That's not really the right thing.
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  And then we fan kind of fell into the
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  you know, that story aspect of it of like mil let's make feel this way.
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  And then everything kind of started to sit right and you kind of balancing,
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  you know, all of Andy Lang, who's our ~ our sound effects and Foley Mixer,
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  did a phenomenal job of just making sure everything was just kind of sitting there.
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  And then Penny, Penny Cogling,
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  who's our
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  Dialogue mixer and music mixer.
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  She had to balance the, you know,
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  the music with everything and the dialogue to make sure that everything's kind
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  of cutting through and you kind of hear the voices of everybody else is
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  a little bit because the the guards too are supposed to feel kind of like confused,
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  like they don't really know what to do.
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  Cause this is like this shouldn't happen.
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  This is this is not supposed we're like,
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  we're supposed to actually be the ones that are,
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  you know, winning this fight. And they absolutely are not.
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  I was gonna say too, it kind of goes to something else I was gonna note,
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  is that there is a lot of like the action is not like as explosive.
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  There's a lot of subtle action I should say.
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  And there's a lot of use of like silence and ambience and restrained sound.
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  And it sounds like that is something here that is definitely used
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  to build the suspense of the show.
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  Very much so. We very we really wanted to make sure that we didn't overcrowd
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  any scene with sound for the sake of having sound.
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  So we wanted to make sure that everything was,
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  you know, if it if it if it called for it and you know,
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  when we first reach Korea at in the beginning of episode eight,
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  you know, it's very big, it's very lush.
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  You know, we want that to feel very intentional,
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  but a lot of the locations were very much dialed back.
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  There wasn't really, you know,
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  especially because we want to make sure that,
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  you know, the performances always shine through.
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  And it's very easy to just kind of fill any kind of scene with random
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  n noises happening throughout the background.
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  So we try to stay kind of clear of doing that too much.
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  If it if it felt that and that's part of the whole idea of it feeling grounded.
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  If it felt like it was too distracting,
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  then it was just like, you know what,
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  let's let's dial some of this,
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  some of this back and let's like you said,
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  let's let the silence and those quiet moments really it really helps to I
• 15:39
  I love I love the silence of it because for me it draws the audience member in.
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  When you're when it's quiet, you kind of have to lean in a little bit closer
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  and you know, whether you're noticing it or not,
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  you just
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  lean in and listen a little bit more.
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  You know, so it's very it's it's such a powerful tool to,
• 15:54
  you know, it's very strange that in sound we're supposed to be putting sound in,
• 15:59
  but we love silence.
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  I think as it's almost I I keep saying the word off putting it,
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  but like it is it like it makes you feel a little bit off-kilter when something's
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  just silent, you know? Like you're
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  Mm-hmm.
• 16:09
  like, What is that? Like what's going on?
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  Especially in a we I think people got so used to movies being like early
• 16:16
  two thousand movies felt like they were very oversaturated with sound and noises,
• 16:19
  you know. And like now it feels like when you have that moment you have
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  to stop and you're like, Wow, this I I don't know.
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  It it pull it it pulls me into the show in a way that like it's unexpected,
• 16:27
  you know, you're not expecting to not have any kind of sound in those moments.
• 16:31
  Yeah, and it's it's the the one thing I loved about it was it it gave
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  us the ability to experience with what sounds can we put in there.
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  So it doesn't feel complete silent.
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  ~ but it there's still a little bit of life to it,
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  but how do we not overcrowd everything?
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  And I loved, you know, Josh and Lindsay's home is a great example of
• 16:51
  if you listen to it, it's almost never quiet.
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  But there is, you know, it's supposed to be out in the middle of Ojai
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  So you hear, you know, you hear bugs,
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  you hear different things kind of at at night,
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  especially like the nighttime scenes are f are fantastic because you know,
• 17:06
  sounds always bleeding through,
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  especially when they're in, you know,
• 17:08
  Josh's ADU. That's supposed to be a little bit the the walls are
• 17:11
  a little bit thinner, you know,
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  there's not as much insulation with everything.
• 17:14
  So the sounds bleed through it's a little bit.
• 17:16
  And those are great because you
• 17:19
  Again, it's like what sounds will fit in right so that you almost don't notice
• 17:23
  it and you're you're you're it feels natural to the environment,
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  but it's not really quiet all the time.
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  Yet it's not distracting to your ears.
• 17:31
  So it's again, it's always this like,
• 17:32
  you know, the bullseye is always so small of like how do we get how do
• 17:36
  we get this right? And that was one of like the just the locations
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  and building the ambience for them was a lot of fun and trying to figure
• 17:43
  out what was gonna work and what wasn't.
• 17:45
  I love those moments too because I feel like we all have ambient noise
• 17:48
  in our house that we forget about.
• 17:50
  But when you go to somebody else's house or somebody comes into your house
• 17:52
  and they hear it and you're like,
• 17:53
  that's not even us. It's almost like,
• 17:55
  you know, it's that ringing in the back of your ear that you're just
• 17:57
  not paying attention to. But it's always kind of there and those moments
• 18:00
  are always kind of present, even if it's not like in your face about it.
• 18:03
  Yeah, exactly. Exactly. And that yeah,
• 18:05
  that was there's also a lot of experimentation with with trying to figure
• 18:08
  out what was gonna fit right for that.
• 18:10
  So looking back at your your career,
• 18:11
  how do you feel like your approach to storytelling through sound has evolved?
• 18:14
  That's a question.
• 18:15
  So for me, the biggest change in approach has been a little bit of what
• 18:20
  we talked about with silence is learning how to appreciate that.
• 18:23
  I think very early on in my career,
• 18:25
  I think in most sound editors' career,
• 18:27
  you know, I started off cutting sound effects.
• 18:29
  So it was very much like, how do I put some cool sounds in here?
• 18:32
  And how do I, you know, make sure that they get through?
• 18:35
  And you know, you kind of again,
• 18:38
  you want to overcrowd the space and you want to give it a bunch of,
• 18:41
  you sounds for the sake of putting sounds in just because you,
• 18:43
  yeah, this is gonna be cool and it's gonna be super lush.
• 18:45
  And throughout my career, I've learned,
• 18:48
  especially I I love the process of what we do.
• 18:52
  And I love being able to sit down with a room full of,
• 18:56
  you know, our like.
• 18:58
  individuals and our our mixers that we work with on the show and sitting down with
• 19:03
  them and kind of discussing of what's gonna work in these in these moments.
• 19:07
  And throughout my career I've learned that a lot of it is trying to find
• 19:13
  The right sounds for the right moment,
• 19:15
  as opposed to just putting sounds for the sake of sounds.
• 19:17
  So it's being able to lean into the quieter aspects of it and learning that just
• 19:22
  because maybe it's not a bunch of sounds that you automatically hear right away
• 19:26
  doesn't mean that it's, you know,
• 19:28
  you're not doing your job and actually being able to navigate the kind
• 19:34
  of plethora of sounds that are provided for us of like how do we,
• 19:37
  how do we navigate that and find.
• 19:41
  What's appropriate for each project?
• 19:43
  And that's that's you know, that's one of the biggest things that I've learned
• 19:46
  is that every project is going to be different from one another.
• 19:50
  So what you did for the first,
• 19:51
  you know, the show that you may have just finished up or the film you
• 19:53
  may have just finished up is gonna be completely different from the next
• 19:55
  one you're gonna be doing. So how do you approach that?
• 19:58
  And having discussions with creatives of like how are we,
• 20:01
  you know, what are you what are your personal tastes?
• 20:03
  What are we looking for that we're trying to tell with these stories?
• 20:07
  Because every every story is different,
• 20:08
  you know, and and there are times where we do
• 20:11
  put a bunch of sounds in a scene and it's like,
• 20:13
  yeah, this sounds great. Cause it's a it's feels right for the context.
• 20:18
  So I think learning how learning and being able to kind
• 20:23
  of decipher what every project needs has been probably one of
• 20:26
  the biggest things that I've learned throughout my career.
• 20:29
  And that has to be very, you know,
• 20:31
  rewarding to be able to do that.
• 20:32
  Be like, okay, let's look at this project by itself.
• 20:34
  Instead of being like the, you know,
• 20:36
  the easy way of just like we could put all these sounds and then it's fine,
• 20:39
  you know, but you're trying to like tailor and make it special.
• 20:41
  You're trying to make it unique to whatever project's in front of you.
• 20:44
  Absolutely. Cause everybody's storytelling process is different.
• 20:47
  And every creative's, you know,
• 20:49
  every showrunner that I've worked with,
• 20:51
  they're all different from one another and they all have specific visions.
• 20:53
  So it's sitting down and kind of figuring out,
• 20:56
  well, what's your kind of, you know,
• 20:58
  vision for this? And especially it's it's I love getting a chat with
• 21:02
  ~ with showrunners and, you know,
• 21:04
  directors because you kind of get ~ a d you know,
• 21:09
  it gives you such a good insight to what
• 21:13
  every project needs and what they are all are all looking for.
• 21:17
  And 'cause they all they all have very like I said,
• 21:19
  they all have very specific process.
• 21:21
  And they all have very like they all approach sound in very different ways.
• 21:24
  So that's also like my favorite thing too is figuring out what's your kind
• 21:29
  of approach to sound. How
• 21:31
  what matters to you in any specific scene?
• 21:33
  Is it dialogue? Is it you're really wanting to hear all the dialogue
• 21:36
  and you're kind of the sound effects are just there to help fill out the space,
• 21:39
  or do you really want to feel it,
• 21:41
  make it feel as lush and immersive as you want?
• 21:44
  And you know, so everything everything's different.
• 21:46
  There's no right or wrong way to approach it.
• 21:48
  And that's really cool too, that you're able to talk with them and then be like,
• 21:51
  Okay, this is what you're kind of looking for and then go and achieve that through
• 21:55
  your, you know, like your own expertise,
• 21:56
  but also just putting your own kind of vision on like,
• 21:59
  here's what you you're looking for,
• 22:00
  here's how I would achieve it.
• 22:02
  Yeah. Yeah. A lot of cause it there's often times you run into ~
• 22:07
  you run into creatives who are very much they're like,
• 22:11
  I'm gonna explain something to you,
• 22:12
  but I don't know the proper way to explain it.
• 22:14
  It's like that's totally fine because there is no proper way to explain it.
• 22:16
  You know, it's just what is it a feeling that you're going for?
• 22:20
  Is it, you know, some some creatives talk in colors?
• 22:23
  It's like, you know, this feels blue.
• 22:25
  Okay, what's blue? What does that mean?
• 22:26
  How do I interpret that? And how do I take that and turn it into something that's
• 22:30
  you know, sonically tangible and like,
• 22:32
  well, how does that translate to sound effects that I can relate to my,
• 22:35
  you know, crew of editors that I work with?
• 22:37
  ~ so that is very much that's that's that's of it's such a joy to be able
• 22:42
  to do that.
• 22:43
  Well, thank you so much again for being here,
• 22:45
  Chris. It's been such a pleasure talking with you.
• 22:46
  And again, congratulations on your Emmy nomination.
• 22:49
  ~ we're keeping our fingers crossed for you.
• 22:51
  Thank you
• 22:51
  so much, Brian. I appreciate it.
• 22:52
  Thank you for taking the time.
• 22:54
  So you can check out Beef Season Two on Netflix.
• 22:56
  ~ until next time.