And in terms of what you guys decided on, what would be in the sound and what wouldn't be, was there anything that he sort of pulled back on?

No, I don't know.

I mean, because initially we, the first kind of couple of parts about two months in, the film was a succession of frequent sporadic events and a lot of things happening.

And then we had this really interesting screening with a few heads of department just to test, you know, this is where the film's at.

And Chris Oddy, the production designer, said to me afterwards, you know, it sounds a bit like a country park.

You know, you've, There's something missing for me in terms of, you know, the industry that we discussed, you know, a year ago, whatever, and how, what a big machine it was.

And I took that comment back to John and we, we came up with this, or John suggested that I took the rumble that I had on the Hoss with the cigar at night scene.

In terms of the recording of the family drama inside the house, how did you navigate capturing that? Because wasn't it filmed through, um, like hidden cameras?

How do you convince the director, the producers to have the trust in you to be a smaller team, but that y- they'll get a better product in the end?

So there is a fair bit about my workflow that's different and does support a kind of a, a smaller team, and I can outline in, in, uh, briefly.

But basically, um, there were two things that kind of played to the favor of wearing three hats.

Number one, I was on the project for a year and a half, and we did a whole pass of the film before the film was even shot.

So I worked on the script, and we had previsualization.

And where the previsualization didn't work or didn't exist, I actually just sort of did a screenshot of the script and would scroll that.

So I had a whole two-hour long movie with all the sound design all worked out and all the different ideas and different permutations, enormous library of sound design alternatives.

[alien growling] Is building the soundtrack ahead of the movie something you do for every film, or what, what's your unique process?

So tell me about sort of maintaining that balance.

Yeah, it's a real balancing act.

The, it's like that fire alarm is, is the, the pitch of pretty much a human baby crying, which is the, the sh- sound that the ear canal is program-- you know, is genetically made to hear best for obvious reasons.

Um, so that's why you can really kind of poke people with, with a fire alarm sound.

But, um, yeah, it's, it's, um, you know, before that, we've, in the film when we see Nicky, uh, sit at the traffic lights and we see the motorbike go past, [clears throat] and he puts the ear defenders on, and so through that we learn the language of the film.

But it's not, it's not here, until here that we actually understand, you know, the, the, the danger.

And there is again the, you know, the removal of sound there, and that's what creates more, even more of a juxtaposition, and that's what-When, when things get silent, not only does your brain, um, start to imagine sounds that are probably better than anything I could put in the film, so that's good 'cause it's personal to you, but also your hearing opens up.

Because sometimes it's very fast and you move back and forth.