The nominated sound designers and composer combined their efforts to immerse viewers into the horrors of a World War I battlefield.
“We felt the best way to tackle that scene is to just stay with the soldiers and keep up the unknown,” explains sound supervisor/designer Frank Kruse of the movie’s Oscar-nominated sound team. “We decided to only [allow the audience to hear] the phenomena that these tanks created, like the shaking and the rumble, and we also had little pebble stones jumping on the ground.”
Ominous sounds continue, and then, out of a cloud of yellowish fog and smoke, the tanks are revealed as they head toward the soldiers in the trenches. “This is where we start to hear more specific sounds of the tanks,” says Kruse. “This is also the moment where, in that battle, the music comes back for the first time.”
“This is where we start to hear more specific sounds of the tanks,” says Kruse. “This is also the moment where, in that battle, the music comes back for the first time.”When the tanks appear onscreen, their sounds are layers that include recordings of the prop tank engines from the set. Sound also was used to convey that the tanks are resistant to bullet impact, which the soldiers learn as their fired shots bounce off the armored vehicles.
Volker Bertelmann’s haunting cue for this sequence combines with the soundscape to complete the experience. The composer explains that he felt the music should begin as the soldiers are watching the horizon — before the tanks are revealed as the threat and “not giving away something at that point.” Part of this involved the work of a contrabass player, recording very low bass treatments. “You need something that can grow,” Bertelmann says of his overall approach to the cue.
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