Greber adds that the sound editing team worked with stereo masters of the band’s songs, as well as with some stems . Rerecording mixers Gary Rizzo and Jeff King did the final mix. “We’re not interested in changing the Bee Gees’ sound,” Greber emphasizes. “We want to honor them, and we want to make it sound as close to what the filmmakers wanted as possible.”
Sound effects editor Pascal Garneau notes that creating authentic crowds in the concert scenes required delicate work. “In archival footage, the crowds are usually mono or stereo, and it’s just whatever’s bleeding into the vocal mics in some cases,” he says, adding that he was tasked with creating the crowds for each specific performance. “I have crowds in the background, crowds all around you. There’s some songs where the audience is clapping along to the beat.
Much of this involved use of library material. “At Skywalker Sound, we have a huge sound effects library of sounds that have been recorded since, and we have the commercially available libraries as well. I also have my own private collection; I’m always out recording wherever I go.” Still, this project presented its particular challenges. “Recording a rock concert audience, it’s really tough to get just the crowd without the music and everything else.
Garneau also re-created the sound of the 1979 Disco Demolition Night event in Chicago, where backlash against disco prompted a riot. “The hard part about cutting that kind of crowd stuff is having it not sound phony — where they’re angry but not saying specific things that sound wrong.
This story first appeared in a August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine,
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