WEBVTT - Rebroadcast Ep1 Peter Brown 0:00:03.920 --> 0:00:06.080 Hey, everybody, welcome to Car Stories. 0:00:06.320 --> 0:00:08.360 This is some King and Amelia Hartford. 0:00:08.520 --> 0:00:10.440 Joining us today is Peter Brown. 0:00:10.680 --> 0:00:12.840 He has been the supervising sound editor for the Fast 0:00:12.840 --> 0:00:14.840 and Furious franchise. It's Tokyo Drift. 0:00:14.920 --> 0:00:16.919 Yeah, I mean a big part of why we love 0:00:17.160 --> 0:00:19.239 cars is the way it sounds. It's the voice of 0:00:19.280 --> 0:00:21.880 the car. Yeah, it's the voice of the character. 0:00:22.000 --> 0:00:25.159 Peter himself is going out there recording the cars on 0:00:25.239 --> 0:00:28.160 a Dino on the street, getting microphones all over from 0:00:28.200 --> 0:00:30.040 the engine bay and the cab to the exhaust. Like 0:00:30.280 --> 0:00:32.839 we get in some crazy detailed conversation about what that 0:00:32.880 --> 0:00:37.720 process looks like in his hunt for very specific sounding cars, and. 0:00:37.640 --> 0:00:39.920 A lot of you know, car guys will not let 0:00:39.960 --> 0:00:42.680 a Hollywood production come and use their car. They will 0:00:42.760 --> 0:00:44.960 let Peter, you know. And this passion is infectious. 0:00:44.960 --> 0:00:47.720 It's really cool to see someone who wasn't necessarily into 0:00:47.800 --> 0:00:51.600 cars before joining Tokyo Drift in the Fast and Furious 0:00:51.600 --> 0:00:56.480 franchise to what they've grown to love. Because everyone who 0:00:56.480 --> 0:01:00.400 gets into cars finds their lane upon intent, so it's 0:01:00.440 --> 0:01:02.720 really cool to hear what he was so. 0:01:02.760 --> 0:01:06.560 Passionate about, speaking of following your lane. I love Peter's 0:01:06.560 --> 0:01:10.760 ethos about knowing yourself and what you believe in and 0:01:10.760 --> 0:01:13.679 what your passion is and not worry about other people. 0:01:13.880 --> 0:01:16.319 And it's almost so simple and he applies it to 0:01:17.319 --> 0:01:20.440 his sound work. And without further ado. 0:01:20.400 --> 0:01:22.559 We'd love to introduce to you Peter Brown. 0:01:25.920 --> 0:01:29.200 So we're here with Peter Brown Sound. What would your 0:01:29.240 --> 0:01:30.000 title be? Peter? 0:01:30.520 --> 0:01:33.479 I usually introduce myself as a sound guy, but I'm 0:01:33.480 --> 0:01:36.880 a supervising sound editor, so I work with a team 0:01:36.880 --> 0:01:40.960 of folks to put the sound into motion pictures and 0:01:41.760 --> 0:01:44.520 we have to do every sound that you hear except 0:01:44.520 --> 0:01:48.440 for the music, so the dialogue, the sound effects, the 0:01:48.520 --> 0:01:52.640 folly if you've heard of that, which is where individual 0:01:52.760 --> 0:01:55.920 sounds are reproduced in a studio for the film, and 0:01:56.600 --> 0:02:02.000 sound design explosions, horse whinnies, creatures sounds, horse. 0:02:01.760 --> 0:02:06.680 Weenies, whinnies, whennies and footsteps and horses weenies had sound, 0:02:06.840 --> 0:02:12.359 was like, that's a different kind of film. So when 0:02:12.360 --> 0:02:16.000 you say sound design, you actually make some of the sounds, 0:02:16.200 --> 0:02:17.760 like you create it from scratch. 0:02:18.040 --> 0:02:21.239 Well sounds sounds are invisible, so they're kind of hard 0:02:21.280 --> 0:02:27.080 to quantify, but they usually come organically through a microphone, 0:02:27.280 --> 0:02:31.440 like we're making sounds here, and then through the glory 0:02:31.480 --> 0:02:35.919 of machines and technology, you can manipulate those sounds, make 0:02:35.960 --> 0:02:39.760 them go backwards, speed them up, slow them down, combine 0:02:39.800 --> 0:02:44.160 them with other sounds. And sound design is a somewhat 0:02:44.240 --> 0:02:48.600 new term, but it encompasses all of that, and it 0:02:48.600 --> 0:02:52.640 could be everything from making the doth rocky language in 0:02:52.760 --> 0:02:58.079 Game of Thrones to making the sounds of the undersea 0:02:58.160 --> 0:03:01.519 world of Atlantis, things that have never been heard before. 0:03:02.040 --> 0:03:05.160 But are you made of things that have been recorded 0:03:05.200 --> 0:03:08.919 before or things that are synthesized completely from scratch in 0:03:08.960 --> 0:03:09.440 a computer. 0:03:10.360 --> 0:03:12.320 Have you always been into sound growing up? 0:03:12.760 --> 0:03:15.960 Yeah, I listened to a lot of radio when I 0:03:16.000 --> 0:03:18.760 was a kid. I think that was the I'm not 0:03:18.840 --> 0:03:21.880 old enough to have just had radio as entertainment, so 0:03:21.960 --> 0:03:25.280 I definitely watched my television as well. I do recall 0:03:25.320 --> 0:03:27.880 a number of things, you know, that were only available. 0:03:27.880 --> 0:03:31.400 I'm from western New York, so it was not in 0:03:31.440 --> 0:03:34.720 any of the big cities, and there were things that 0:03:34.720 --> 0:03:37.240 would come on the radio that were just kind of 0:03:37.240 --> 0:03:40.400 amazing to me, like Doctor Demento. I don't know if 0:03:40.720 --> 0:03:42.720 that hits your generation at all, but it was a 0:03:42.760 --> 0:03:46.040 weird radio show that this guy had out on the 0:03:46.080 --> 0:03:49.920 West Coast and covered all different genres of music and 0:03:50.160 --> 0:03:53.360 novelty songs, but also told a lot of history of sound. 0:03:54.240 --> 0:03:57.840 And then the BBC did a series based on Douglas 0:03:57.840 --> 0:04:00.360 Adams books called The Hitchhiker's Guide to the Galaxy. Yeah, 0:04:00.800 --> 0:04:03.120 it's had television shows, it's had movies, but for me, 0:04:03.320 --> 0:04:09.200 nothing compares to what the BBC Radiophonic Studio did. Their 0:04:09.320 --> 0:04:12.520 sound effects and the stuff they created there was fantastic. 0:04:12.600 --> 0:04:15.480 So you know, I spent a lot of a lot 0:04:15.480 --> 0:04:19.200 of time listening to weird things. It wasn't my main focus, 0:04:20.640 --> 0:04:22.359 but yeah, I think I've always been into sound. 0:04:22.520 --> 0:04:25.160 That's so interesting because when I was younger, like the 0:04:25.200 --> 0:04:26.640 acting is what stood out to me, And I'm sure 0:04:26.640 --> 0:04:28.960 there's different things that stand out to different people, but 0:04:29.080 --> 0:04:30.880 for you being the sound, was there a certain point 0:04:30.880 --> 0:04:33.880 where you're like, this is what I am passionate about 0:04:33.920 --> 0:04:34.839 pursuing and doing. 0:04:35.000 --> 0:04:37.440 I would say that that didn't come into my life 0:04:37.520 --> 0:04:40.880 until probably my early twenties, when I was in grad school. 0:04:41.680 --> 0:04:45.840 I'm from Rochester, New York, the land of eastman Kodak, 0:04:46.120 --> 0:04:50.040 where my dad was an electrochemist and so he had 0:04:50.040 --> 0:04:54.640 the rare privilege to be able to bring home expired 0:04:54.680 --> 0:04:57.960 Super eight film. So I basically, as a kid, had 0:04:57.960 --> 0:05:03.960 this rare opportunity to have free motion picture film and processing, 0:05:04.680 --> 0:05:08.240 which was sound free, by the way. But I developed 0:05:08.240 --> 0:05:11.359 a passion for that, just shooting little films with my 0:05:11.480 --> 0:05:15.240 friends and cutting them together and learning how to work 0:05:15.240 --> 0:05:18.279 with film. So I knew before I went to college 0:05:18.320 --> 0:05:21.960 that I wanted to go into filmmaking. I love that, 0:05:22.080 --> 0:05:24.960 and I went to undergrad at a nice liberal arts school, 0:05:25.320 --> 0:05:28.320 where I found a wife and learned excellent cocktail conversation 0:05:28.400 --> 0:05:32.080 and had generally a fantastic time. But I knew that 0:05:32.240 --> 0:05:34.800 I wanted to go out and do a trade. I 0:05:34.800 --> 0:05:37.800 wanted to learn something concrete and specific. So I went 0:05:37.839 --> 0:05:40.400 to grad school, came out here to the West Coast, 0:05:41.200 --> 0:05:43.440 and I had the dream. I think that a lot 0:05:43.480 --> 0:05:44.880 of the other people who went there, we wanted to 0:05:44.880 --> 0:05:48.400 be the next John Singleton or Steven Spielberg or George 0:05:48.440 --> 0:05:52.480 Lucas wanted to be a writer, director, auteur kind of filmmaker. 0:05:52.760 --> 0:05:56.000 And at USC you get to do a little bit 0:05:56.040 --> 0:05:59.280 of everything. You know, whatever you want to do. It's 0:05:59.320 --> 0:06:01.280 going to be very long answer to a simple question 0:06:02.000 --> 0:06:03.000 I've had it very interesting. 0:06:03.120 --> 0:06:03.320 Yeah. 0:06:03.720 --> 0:06:07.560 So I learned pretty early on that if you wanted 0:06:07.560 --> 0:06:11.240 to make it in Hollywood, if you wanted to write 0:06:11.279 --> 0:06:14.000 your own destiny, it seemed like the very best thing 0:06:14.040 --> 0:06:17.240 to do was to be a writer, because that way 0:06:17.360 --> 0:06:20.720 you could generate things out of thin air, you could 0:06:20.720 --> 0:06:24.200 control the destiny, and if you were really persistent and 0:06:24.240 --> 0:06:27.240 super successful, you could eventually kick the door in and 0:06:27.279 --> 0:06:32.320 become a director. And I found out really early that 0:06:32.960 --> 0:06:38.039 writing is pretty painful for me, and I think, you know, 0:06:38.120 --> 0:06:41.799 to be successful in life, you have to be very 0:06:41.880 --> 0:06:43.800 you have to have your ears and your eyes open 0:06:43.920 --> 0:06:46.559 to you know, the most important thing in your world. 0:06:46.720 --> 0:06:50.000 You You've got to know who you are and what 0:06:50.160 --> 0:06:53.200 you're good at. If you know what your impressions are 0:06:53.200 --> 0:06:55.840 when you're young, don't always match up with your with 0:06:55.880 --> 0:07:01.640 your propensities or your interests. And so I that I, 0:07:01.680 --> 0:07:04.120 you know, I wasn't going to be a writer. I 0:07:04.200 --> 0:07:07.480 did direct the documentary about one of my passions, which 0:07:07.520 --> 0:07:10.640 is free solo rock climbing, but that was a you know, 0:07:10.680 --> 0:07:13.360 that was a great process and the film did really well. 0:07:13.440 --> 0:07:18.760 I did cinematography on another documentary I did. But anyway, 0:07:19.040 --> 0:07:22.920 you know, I wore all those hats, and when I 0:07:23.000 --> 0:07:25.720 was just in my second year in school, there was 0:07:25.760 --> 0:07:29.360 an opportunity just for sound people they couldn't and this 0:07:29.400 --> 0:07:31.920 will be a theme in probably anybody who's ever made 0:07:31.920 --> 0:07:34.520 an independent film. You can find somebody to do everything, 0:07:34.560 --> 0:07:37.240 but you just can't find that production sound guy. Or 0:07:37.320 --> 0:07:40.720 everybody will work for free, but the production sound guy won't. 0:07:40.920 --> 0:07:43.080 So what I realized in school, by the time I 0:07:43.120 --> 0:07:45.320 made it to my third year, I had kind of 0:07:45.360 --> 0:07:49.200 become the go to sound guy. Everybody else they still 0:07:49.200 --> 0:07:51.960 wanted to do the writer director thing, or you know, 0:07:52.040 --> 0:07:54.400 had some other passion. There were very few people at 0:07:54.520 --> 0:07:57.840 SC who had, you know, had a taste for sound 0:07:58.520 --> 0:08:03.120 because it's not glamorous, it's not easy, and it's super 0:08:03.640 --> 0:08:08.520 labor intensive, so it's very hard to fake. You can't 0:08:08.560 --> 0:08:11.960 really phone in a good sound job. So I could 0:08:11.960 --> 0:08:15.160 see that my talents the person I am, just matched 0:08:15.240 --> 0:08:19.360 up with the requirements for sound. And I came out 0:08:19.400 --> 0:08:22.360 here from Rochester, I don't know, I didn't know anybody 0:08:22.440 --> 0:08:24.400 in town, so I knew I had to pay off 0:08:24.400 --> 0:08:29.520 these student loans by doing something. So it was something 0:08:29.560 --> 0:08:31.040 that I was good at, and it was something that 0:08:31.120 --> 0:08:33.800 I saw that I could get employment with immediately. 0:08:34.040 --> 0:08:37.800 So Pete, can you talk about how you got into 0:08:37.840 --> 0:08:40.600 the Fast and Furious movies, Like when did you start 0:08:41.240 --> 0:08:43.800 working on those the franchise? 0:08:44.120 --> 0:08:47.800 I started working on Fast and Furious with Tokyo Drift, 0:08:48.400 --> 0:08:51.319 as a lot of us did. The string of events 0:08:51.400 --> 0:08:54.400 went like my first job in the sound business, I 0:08:54.400 --> 0:08:56.400 worked at a place called the Creative Cafe for eight 0:08:56.480 --> 0:09:01.800 years and my boss, Steve hunter Flick, did a lot 0:09:01.800 --> 0:09:06.640 of films with Sally Menke, a great picture editor, and 0:09:07.040 --> 0:09:09.880 as I was kind of, you know, the errand boy, 0:09:10.280 --> 0:09:13.720 running around doing everything I can, trying to make the 0:09:13.720 --> 0:09:17.120 most of my opportunity, there was a picture assistant working 0:09:17.160 --> 0:09:19.280 for a Sally named Fred Raskin. 0:09:19.520 --> 0:09:22.360 Fred. I know Fred, you know Freda. So it was 0:09:22.400 --> 0:09:25.320 the editor for Better Luck Tomorrow and Fast and Furious, 0:09:25.360 --> 0:09:28.800 Tokyo Drift exactly now just Quentin Tarantino movies. 0:09:29.080 --> 0:09:33.000 And my boss and Sally did Quentin Tarantino movies. So 0:09:33.880 --> 0:09:36.120 as we kind of came up through the trenches, we 0:09:36.440 --> 0:09:39.280 you know, we'd see each other taking stuff back and 0:09:39.320 --> 0:09:42.080 forth or handing things off. He saw something in me, 0:09:42.880 --> 0:09:47.280 and after Better Luck Tomorrow, when Annapolis happened. They needed 0:09:47.760 --> 0:09:51.800 a sound guy, and God blessed Fred Raskin, but he 0:09:51.880 --> 0:09:55.160 insisted that that sound guy be me and the company 0:09:55.200 --> 0:09:58.360 that I eventually worked for. They threw Oscar winners at him, 0:09:58.520 --> 0:10:02.280 they threw you know, really great sound folks at him, 0:10:02.559 --> 0:10:04.640 and he just stuck to his guns and said, nope, 0:10:04.679 --> 0:10:09.040 I want Peter Brown. So that opportunity opened a ton 0:10:09.080 --> 0:10:12.160 of doors. You know, I really killed myself to do that. 0:10:12.320 --> 0:10:14.720 But that was something funny that happened. At the first 0:10:14.880 --> 0:10:18.960 preview of the movie, someone in the focus group mentioned 0:10:18.960 --> 0:10:22.360 how great the boxing sounds were. This never happens in 0:10:22.360 --> 0:10:25.120 the focus groups. Nobody really ever talks about the sound, 0:10:25.760 --> 0:10:29.960 and so Disney was super happy. The companies who's umbrella 0:10:29.960 --> 0:10:31.920 I was working on it was super happy, and so 0:10:32.000 --> 0:10:36.400 that turned into, you know, a great relationship with the 0:10:36.440 --> 0:10:40.000 company that I work with now since that time. And 0:10:40.120 --> 0:10:43.320 when we were doing the final mix on Annapolis, Justin 0:10:43.400 --> 0:10:46.480 came into the stage one day and he was really 0:10:46.520 --> 0:10:48.760 busy because he was like, you know, like a lot 0:10:48.800 --> 0:10:51.920 of directors, you know, you're only You're only as good 0:10:51.960 --> 0:10:54.240 as the last thing you've made. So that's the time 0:10:54.320 --> 0:10:56.520 to strike the iron and get the next films going, 0:10:56.520 --> 0:10:58.679 and he came in and he was like, well, I've 0:10:58.679 --> 0:11:01.400 got three offers on the table. I don't really know 0:11:01.440 --> 0:11:03.079 what I should do, and I don't remember what the 0:11:03.480 --> 0:11:05.640 first two were. It was, you know, film may film 0:11:05.679 --> 0:11:08.080 be and Fast and Furious. 0:11:08.000 --> 0:11:11.120 And I was just like, justin, you must do Fast 0:11:11.160 --> 0:11:11.760 and Furious. 0:11:12.200 --> 0:11:16.679 Absolutely, and he's like, we'll see, Oh, that's so fun, 0:11:16.960 --> 0:11:19.480 and you know, sure enough, a few months later he 0:11:19.520 --> 0:11:20.679 was doing Fast and Furious. 0:11:21.600 --> 0:11:23.520 Had you done many car films prior to that? 0:11:23.960 --> 0:11:27.840 No, But as a sound guy, I knew that if 0:11:27.840 --> 0:11:32.559 I was going to do anything of substance, anything you know, worthwhile, 0:11:32.640 --> 0:11:35.079 you kind of need to do a science fiction film, 0:11:35.360 --> 0:11:41.280 a war film, or a racing film. It's not entirely 0:11:41.320 --> 0:11:44.600 exclusive set, but those are the types of films where 0:11:44.640 --> 0:11:46.160 you can really sink your teeth in. 0:12:00.240 --> 0:12:03.400 Were you into cars prior to Tokyo. 0:12:03.040 --> 0:12:05.640 Drift, I'm sorry to admit no, not really. 0:12:05.760 --> 0:12:09.200 So you had a lot of fun learning about the 0:12:09.240 --> 0:12:12.439 different engines and the different sounds of them, so much fun. 0:12:12.720 --> 0:12:16.480 And you're totally right about the education thing. I mean, 0:12:16.520 --> 0:12:19.040 one of the one of the best things about life, 0:12:19.160 --> 0:12:20.400 or one of the things I think that keeps you 0:12:20.400 --> 0:12:22.760 alive is just curiosity and learning. 0:12:22.760 --> 0:12:24.760 I always say the same thing. If I'm not learning, 0:12:24.840 --> 0:12:27.400 then I need to reevaluate things, because that's what keeps 0:12:27.400 --> 0:12:28.160 me engaged. 0:12:27.960 --> 0:12:31.600 Interested and what makes documentaries so great to work on. Yeah, 0:12:31.640 --> 0:12:34.760 but here was a situation where there was a whole 0:12:34.960 --> 0:12:38.880 world of things that I knew nothing about and was 0:12:38.960 --> 0:12:41.480 able to just throw myself into it. And it was 0:12:41.480 --> 0:12:44.160 a great time to do it because La was alive 0:12:44.320 --> 0:12:49.160 with people drifting and so you know, suddenly, you know, 0:12:49.200 --> 0:12:52.920 my vocabulary was one jay z RB twenty four. All 0:12:53.000 --> 0:12:56.080 these you know, letters and numbers and things that I 0:12:56.080 --> 0:12:59.880 didn't know, and you know, our job is to augment 0:13:00.320 --> 0:13:03.280 the story in the film, and cars are a fantastic 0:13:03.320 --> 0:13:07.000 opportunity to you know, be an extension of the characters 0:13:07.000 --> 0:13:09.320 in the film. So I had to learn about all 0:13:09.320 --> 0:13:12.480 these different cars and figure out, you know, what they 0:13:12.520 --> 0:13:16.280 were and what would be correct. Very often, you know, 0:13:16.360 --> 0:13:20.120 the studeo seems to be kind of relaxed about what 0:13:20.160 --> 0:13:22.120 you use. They kind of think all these things exist 0:13:22.120 --> 0:13:24.800 in libraries, can't you just use that? But one of 0:13:24.880 --> 0:13:27.160 my favorite parts of the process is going out and 0:13:27.200 --> 0:13:31.720 finding the right material, the organic, original piece and then 0:13:31.760 --> 0:13:33.360 bringing that into the studio, so I had to learn 0:13:33.400 --> 0:13:38.160 about all these cars and stuff that really didn't exist 0:13:38.160 --> 0:13:41.840 in libraries at all. And so I recorded, you know, 0:13:41.880 --> 0:13:46.439 two forty s x's, three fifty z's, all the cars 0:13:46.440 --> 0:13:48.720 in there. And I think I even I recorded what 0:13:48.920 --> 0:13:52.319 is still my favorite car, which was the Fulcon Motorsports 0:13:52.520 --> 0:13:54.800 RX seven, which we used for Hans car. 0:13:55.000 --> 0:13:58.120 That is beautiful. That erodary is your favorite sounding car 0:13:58.640 --> 0:14:00.319 on your first car project, ad. 0:14:00.480 --> 0:14:02.480 I mean even I listened to a lot of cars. 0:14:02.520 --> 0:14:04.800 I cut in a lot of cars. Nothing sounds like 0:14:05.160 --> 0:14:06.200 this engine. 0:14:06.280 --> 0:14:07.360 It is such a beast. 0:14:08.160 --> 0:14:10.760 And what I brought along to take a listen to 0:14:11.400 --> 0:14:17.360 is the best recording of that engine. And indeed it 0:14:17.440 --> 0:14:22.640 died either during this recording moment or moments afterwards. 0:14:22.880 --> 0:14:24.520 What do you mean it died, I mean it died. 0:14:24.560 --> 0:14:32.840 The engine died. Oh anybody? This is why nobody wants 0:14:33.000 --> 0:14:37.040 to let the Fast and Furious crew borrow their cars, 0:14:37.080 --> 0:14:38.800 because it's notorious. 0:14:39.240 --> 0:14:41.240 I guess for people who don't know a rotary, I'm 0:14:41.280 --> 0:14:43.680 probably not the best to explain it because I haven't 0:14:43.680 --> 0:14:45.680 had my hands on one yet. But they're also known 0:14:45.720 --> 0:14:48.800 as Dorito's and it's essentially a cameless engine. You have 0:14:48.880 --> 0:14:53.320 this Dorrito kind of creating revolutions internally, that's creating combustion. 0:14:53.400 --> 0:14:55.840 It's just a different a different style of an engine. 0:14:55.840 --> 0:14:59.280 I'm not doing it justice at all. Rotaries are notorious 0:14:59.320 --> 0:15:01.480 for that blop blop sound. 0:15:01.360 --> 0:15:04.560 Opposed to the piston sound, which sounds like a sewing machine. 0:15:05.720 --> 0:15:08.640 Yeah, I've never heard so. Yeah, that's a perfect way been. 0:15:08.640 --> 0:15:12.720 Down opposed to you know, rotary right spinning again. 0:15:12.680 --> 0:15:14.600 And I think what broke on this thing was the 0:15:14.600 --> 0:15:17.280 tip of one of those corners of the Dorito. Something 0:15:18.000 --> 0:15:18.840 went wrong in that. 0:15:18.960 --> 0:15:22.000 Here's the definition. The Winkle engine is a type of 0:15:22.000 --> 0:15:25.280 internal combustion engine using an eccentric rotary design to confront 0:15:25.280 --> 0:15:27.000 pressure into rotating motion. 0:15:28.640 --> 0:15:32.320 I like Darden, Yeah, yeah, okay, So it's like a 0:15:32.360 --> 0:15:33.240 Dorito spinning. 0:15:34.120 --> 0:15:37.680 Yeah, and then intake goes in the rotation, crazy the compression, 0:15:37.760 --> 0:15:38.920 and then it goes out the exhaust. 0:15:39.040 --> 0:15:41.360 Well, let's listen to this, bad boy, I want to 0:15:41.360 --> 0:15:41.600 hear it. 0:15:41.840 --> 0:15:44.520 So we put Mike's in the engine apartment, we put 0:15:44.560 --> 0:15:47.600 Mike's on the exhaust pipe. We put microphones inside the 0:15:47.640 --> 0:15:51.400 car so that we have a whole variety of perspectives 0:15:51.440 --> 0:15:54.640 of the car, and no matter what gets thrown at 0:15:54.720 --> 0:15:57.920 us on the film, we can reproduce it. If we're 0:15:57.960 --> 0:16:01.040 having the driver's POV, we've got the perspective. If we 0:16:01.080 --> 0:16:05.000 want to feature the blowoff valve on the turbo, we've 0:16:05.000 --> 0:16:06.600 got a mic right next to that, and so we 0:16:06.640 --> 0:16:08.720 can isolate that from all the rest of the sounds. 0:16:08.800 --> 0:16:10.640 You know, it seems so obvious, but that's not something 0:16:10.640 --> 0:16:13.080 that I would think of. Is usually when I'm recording, 0:16:13.120 --> 0:16:15.600 it's like, okay, microphone by the exhaust. But to put 0:16:15.600 --> 0:16:17.480 one in the engine ban and then also in the 0:16:17.480 --> 0:16:19.920 cab of the car, I mean, I guess, yeah, you 0:16:19.960 --> 0:16:21.040 need those different sounds. 0:16:21.240 --> 0:16:23.520 This is an exterior perspective. So in addition to having 0:16:23.560 --> 0:16:26.600 all the mics on the cars, we'll be lined up 0:16:26.640 --> 0:16:31.280 along the racetrack or the runway, one person after the other. 0:16:31.680 --> 0:16:34.440 So one person will get the car starting up, and 0:16:34.480 --> 0:16:37.640 then the next person gets the car going by as 0:16:37.720 --> 0:16:40.840 it's in second gear, and then the next person gets 0:16:40.920 --> 0:16:43.160 the shift from second to third, and then the next 0:16:43.200 --> 0:16:45.680 person you might get the shift from. 0:16:45.960 --> 0:16:46.720 Third to fourth. 0:16:47.480 --> 0:16:52.920 So this one is getting the car further down, further 0:16:52.960 --> 0:16:54.800 down the track, but you'll get to hear this performance. 0:16:54.840 --> 0:16:58.640 All these microphones are recording the same performance of the car, 0:16:59.080 --> 0:17:22.680 and you'll get a chance to hear the differences between them. 0:17:22.840 --> 0:17:24.639 Wow, that's a good sound. 0:17:24.760 --> 0:17:28.760 It is, okay, So why is the RX seven special 0:17:28.800 --> 0:17:33.200 to me? There's definitely some of it which comes from 0:17:33.720 --> 0:17:36.440 the first time you'd do something. This was the first 0:17:36.560 --> 0:17:39.840 car film that I did. When we were putting the 0:17:39.880 --> 0:17:44.240 mix together, it was just so it was so loud. 0:17:44.280 --> 0:17:48.480 It was really hard to get pieces to read. You know, 0:17:48.520 --> 0:17:50.879 I don't think we knew what We don't know what 0:17:50.920 --> 0:17:54.760 we know now about how to balance some of those sounds, 0:17:54.880 --> 0:17:58.920 but never had any problem getting that to cut through. 0:17:59.440 --> 0:18:03.040 And the way some combination of the amount of horsepower 0:18:03.040 --> 0:18:06.000 in that car and the way the rev limitter hits 0:18:06.560 --> 0:18:09.959 is just it has the element that we are always 0:18:10.000 --> 0:18:14.360 asked for in film sound, which is the director will 0:18:14.400 --> 0:18:18.400 always come in with some difficult spot and say, okay 0:18:18.760 --> 0:18:21.600 the sound for this, and I want an iconic, I 0:18:21.640 --> 0:18:26.480 want a signature sound. So this was like my first 0:18:26.680 --> 0:18:29.840 signature sound. It's something that I think you could play. 0:18:30.000 --> 0:18:32.639 It's you know, it's my lightsaber. You could play it 0:18:32.680 --> 0:18:36.080 for anybody anywhere who knows a thing or two about cars, 0:18:36.119 --> 0:18:38.760 and they'll be like, hey, that's that's Hans RX seven 0:18:38.840 --> 0:18:40.000 from Tokyo Drift. 0:18:40.200 --> 0:18:41.520 Very unique sound for sure. 0:18:41.600 --> 0:18:43.920 Can we hear another perspective of the road re engine? 0:18:44.080 --> 0:18:47.480 Yeah, this is closer to the start of the launch here. 0:18:47.520 --> 0:18:49.840 So this is still the RX seven. We're now listening 0:18:49.880 --> 0:18:51.399 from a different here. 0:18:51.440 --> 0:18:56.359 You'll hear, you know, just a really really nice, rich 0:18:56.400 --> 0:18:59.080 recording and the type of you know sound that you 0:18:59.160 --> 0:19:01.280 hear in multiple places in Tokyo Drift. 0:19:01.720 --> 0:19:14.320 M God, I love cars. 0:19:15.440 --> 0:19:19.159 That that sounds like that sequence at the stoplight with 0:19:19.320 --> 0:19:22.600 the exchanging of the numbers, and they're like. 0:19:22.560 --> 0:19:25.800 It brings you back, like the smell of your girlfriend's. 0:19:25.240 --> 0:19:29.720 Perfume donuting around the girls that recording that's that Yeah, wow, 0:19:30.520 --> 0:19:32.520 there you go. But it just it's it's it was 0:19:32.520 --> 0:19:36.000 on loop, like as we spent around. 0:19:36.000 --> 0:19:38.199 There's definitely you know, there's other pieces in there. So 0:19:38.280 --> 0:19:41.439 this is a tailpipe mic from the same performance, but 0:19:41.560 --> 0:19:44.160 this is attached to the car, so you don't get 0:19:44.200 --> 0:19:46.880 any of the perspective change. And this would have also 0:19:47.000 --> 0:19:49.040 been used in that in that scene. 0:19:49.920 --> 0:20:14.560 M hm. Iconic one of a kind. 0:20:14.720 --> 0:20:19.040 Yeah, Typically, when I'm recording my cars, it's for YouTube, 0:20:19.560 --> 0:20:23.680 and I want to show the audience what you know, 0:20:24.240 --> 0:20:27.280 how a modification can change the sound of a vehicle. 0:20:28.200 --> 0:20:29.000 That sounds really cool. 0:20:29.280 --> 0:20:34.320 Yeah, I like the sound coming from a tailpipe the best, 0:20:34.440 --> 0:20:37.240 unless it's like a supercharger or something turbo. You want 0:20:37.280 --> 0:20:40.720 that microphone in the engine bay. But I find that 0:20:40.920 --> 0:20:43.520 when I'm recording, most of it is from behind the car, 0:20:43.640 --> 0:20:48.439 so people can really get that that raw tailpipe exhaust sound. 0:20:49.160 --> 0:20:51.800 And yeah, every little modification on a car seems to 0:20:51.920 --> 0:20:53.520 change how that sounds. 0:20:53.840 --> 0:20:56.359 I also I feel the same way about tailpipes. That's 0:20:56.640 --> 0:20:59.720 to me, where the signature is. Yeah, with accents from 0:20:59.760 --> 0:21:04.200 the or the supercharger totally, And that modding process, even 0:21:04.240 --> 0:21:06.560 though I don't understand it, is very important to me 0:21:07.240 --> 0:21:10.760 because if I get, you know, a car, you know, 0:21:10.880 --> 0:21:15.159 just from the manufacturer generally and especially nowadays, it doesn't 0:21:15.160 --> 0:21:17.840 really sound like much because what I'm interested in in 0:21:17.880 --> 0:21:21.600 a car is the power of the engine, the sound 0:21:21.640 --> 0:21:24.040 and the character of it. And what car manufacturers are 0:21:24.040 --> 0:21:27.840 interested in is that the car is silent and is 0:21:27.880 --> 0:21:28.600 a nice ride. 0:21:28.760 --> 0:21:30.720 So the non muffled version is what. 0:21:30.640 --> 0:21:32.600 You like, right, and which is what we all like. 0:21:32.960 --> 0:21:35.600 And I don't like I don't like to cheat because 0:21:35.640 --> 0:21:39.600 the fans are important. But in Fast nine, for example, 0:21:40.359 --> 0:21:45.119 you're driving a Supra and we went and recorded that Supra. 0:21:45.240 --> 0:21:47.440 It was a brand new Supra, so they often do 0:21:47.600 --> 0:21:52.159 product placements, and it sounded like nothing. It's just it 0:21:52.280 --> 0:21:54.000 was a nice, quiet car. 0:21:54.560 --> 0:21:57.680 So we might have put a three fifty in there, really. 0:21:57.560 --> 0:22:01.120 Because I thought that was appropriate for your character, and 0:22:01.240 --> 0:22:03.560 it had a little bit of the rev limitter hit. 0:22:03.600 --> 0:22:06.600 I wanted to I wanted to harken back to that car. 0:22:06.680 --> 0:22:10.920 So that was a moment where took some artistic license 0:22:11.080 --> 0:22:14.160 and said, look this this is not going the It's 0:22:14.160 --> 0:22:17.320 not going to cut through the sound of the rest 0:22:17.320 --> 0:22:20.680 of the film, but Hans driving it, so it needs 0:22:20.680 --> 0:22:22.040 to sound like a Han car. 0:22:22.240 --> 0:22:24.119 If you had called me, I could have got you 0:22:25.200 --> 0:22:28.879 Supra that had some modified sound. 0:22:29.240 --> 0:22:32.159 The problem was and I would have called you, but 0:22:32.240 --> 0:22:35.800 it was it was plague years right. It was like 0:22:36.240 --> 0:22:38.240 a day or so after Tom Hanks got COVID and 0:22:38.240 --> 0:22:40.200