When filmmakers talk about building the world of a movie, it is often in terms of its visual components – production design, special effects and cinematography – but necessarily not sound.
But for a science fiction film set in the future, sound editors can’t rely on sound libraries or modern day sound effects; instead, they have to imagine and construct sounds based on how the world has changed, and in the case of “Blade Runner 2049,” how the dystopia Ridley Scott created in 1982 has evolved.Most movies don’t really start dealing with sound design until post-production, but because of the demands and scope of the “Blade Runner 2049” soundscape, director Denis Villeneuve was able to put into practice an idea he had considered for a long time — bringing on sound designer Theo Green at the beginning of production, and supervising sound editor Mark Mangini just weeks later.
Both men are
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