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In James Mangold’s 3:10 to Yuma, some law officers are taking the captured killer Ben Wade (Russell Crowe) to the farmhouse of Dan Evans (Christian Bale). When the stagecoach sinks into a rut, Evans limps out of his house, snatches up a fence rail, and uses it to pry the wheel free.

Not an earth-shattering moment, but one I got to know pretty well last week when I visited the mixing session as the director’s guest. About a year ago, Jim sent me an email expressing his liking for my book The Way Hollywood Tells It. We kept corresponding through the planning and production of Yuma, and last month he asked me if I wanted to see the picture-locked film and visit a sound mixing session.

As we say in Wisconsin: You bet.

Watch their eyes

Mangold has been prolific, turning out seven films in about twelve years. Heavy, CopLand, Girl, Interrupted, Kate and Leopold, Identity, and Walk the Line nicely illustrate the difference between convention and cliché. While embracing each genre’s conventions, Mangold always tries to enlarge, enrich, and explore them. Where other directors try for brute impact, he seeks out implication and understated lyricism. Above all there are the nuanced performances, female ones in particular. (Remember those Oscars for Angelina Jolie and Reese Witherspoon.) If anybody can bring the psychological nuances of that elusive “indie sensibility” to mainstream filmmaking, James Mangold is a likely candidate.

As a writer-director, he balances concern for story and character with a carefully wrought visual style. The opening of Heavy makes a shabby tavern beautiful through precise compositions and geometrical cutting that recall Ozu, whom Mangold has acknowledged as an influence.

At the same time, he has understood one of the great strengths of the Hollywood tradition—letting the actors’ faces tell as much of the story as possible. He believes that the script should include not only dialogue but also “pieces of silent acting.” John Ford remarked of actors: “Watch their eyes.” Mangold’s version of this precept can be found on the DVD commentary of Girl, Interrupted: “Actors dance with their looks and glances.”

In fact, his commentary tracks are gold. Anybody who wants to know more about the craft of writing and directing should simply sit down and listen. Mangold is not one of those I-do-what-I-feel guys; he channels the story’s feeling into precise, writable and filmable moments, and his commentary tracks explain how he does it.

Delmer Daves’ original 3:10 to Yuma (1957) is one of Mangold’s favorite films, as he explained several years ago in the interview with Tod Lippy that prefaces the published screenplays of Heavy and CopLand. He’s been bold enough to remake it, in an era in which Westerns are supposed to be unpopular. I was keen to see what a director renowned chiefly for intimate psychological dramas would do with a Western. Yet maybe the gap isn’t so great after all. Mangold points out in the Lippy interview that most classic Westerns aren’t action pictures but character studies.

In the shadow of John Ford

The Yuma production has been chronicled elsewhere on the internets, so I won’t rehearse it here. I came in on the third day of mixing. The session was held on the Twentieth Century Fox lot, at the John Ford theater (a lucky spot, surely). Mangold, his editor Mike McCusker, and half a dozen sound specialists had already been working through the morning. The team included the lauded sound rerecording mixer Paul Massey, winner of three BAFTAs and recipient of five Oscar nominations. His work includes Nixon, Clueless, Gattaca, Jerry Maguire, Master and Commander: The Far Side of the World, the second and third Pirates of the Caribbean films, and not least, the wonderful SCTV parody The Last Polka.

For me, it was an intensive four-hour seminar. Once I start to focus on a movie soundtrack, I have to marvel at the level of precision you can find. As we tell our students: It’s hard to really watch a movie, but even harder to really listen to it.

When Jim asked if I’d sat in on a mix before, I had to confess that I’d visited only one—a session in which Walter Murch was blending rustling foliage and mosquito noises for a scene in Apocalypse Now. (Must blog about that some day.) Things had changed a lot since the 1970s. No longer was a scratchy black-and-white print run and rerun; now we get a 4K image on a large screen, crisp and bright and frozen on a frame for as long as you like. Now there are several mixing stations, each one with a glowing Mac monitor alongside.

The standard division of labor endures, but it’s much more refined. Music is filed on many tracks and with a few mouseclicks can be reworked in tempo, timbre, and orchestration. The dialogue tracks consist of thousands of stored line readings, ready to be pulled up in moments. As for sound effects, at this point Yuma had 96 effects tracks, each of them already premixed from many sources. I usually notice the impact that the digital revolution has had on camerawork and editing, but this session really drove home to me the ways in which the computer has made the art of the soundtrack more exact and exacting.

Details, details

Most of the session was devoted to effects. The first problem was that the track seemed to Mangold too “absent,” too thin and empty. Mike remarked that he didn’t feel the atmosphere, the air between the more discrete noises. “There’s nothing of any character that’s holding it all together,” Mike said. The difficulty, though, as Jim pointed out, is that if you simply add in more sounds, you can confuse things. “If we hear just one moo, that becomes an event.” How to thicken the acoustic atmosphere without muddying it or creating competing noises?

Step by step, the team filled in the ambience. They added tiny air currents, always seeking to avoid what Mangold called “radio wind.” We got very soft and distant moos, shifting horse hooves, even low “horse vocals.” After it was all blended, I found the ambience full and modest, but Jim and the others felt that it was still too bright. They would go back later and mute it a bit.

Now that the ambience was fleshed out, the rest of the session was devoted to specific effects and a few lines. Jim asked for a heaving sound as the stagecoach burst out of the rut, more jingling on the coach reins, a little clinking on Russell Crowe’s handcuffs, a gun-cock. When Crowe’s henchman (Ben Foster), watching from the ridge, urges his horse to move, he makes a smootchy tsk-tsk; Mangold wanted to give it a slightly mocking edge, suggesting the killer’s disdain for the guards’ efforts to protect Wade.

During the 1990s I’d noticed the greater detailing of movie soundtracks. I heard garments brushing against sofas and flakes of tobacco crackling when someone lit a cigarette. Now I was seeing and hearing how skilled artisans orchestrated thousands of such sonic micro-events. They clarified a muffled line. They inserted the sound of stagecoach springs shifting. The words “Good luck” were shifted eight frames. At one point Jim asked for a new line to be put in. “We need a ‘Let’s go.'” “Should I steal it?” “Steal it.” How much of this would be heard in the typical multiplex, or even in fancy home theatres? These guys were going all the way down, creating something of great finesse.

Jim reminded me that sound can create a sense of visual momentum too. The coach drives off in two shots, a long shot and an extreme long shot, and Mangold thought it seemed to go a bit faster in the second. So he added noise that gave an accelerating launch to the first shot.

Then there were Mr. Bale’s steps and the rail he picks up, which gave me an acoustic hallucination.

David is hearing things

As Dan Evans limps out of the cabin (he was wounded in the war), Jim found his footsteps too thudding. He wanted to hear that they were “grounded,” that there was some loose earth underfoot. The team worked to add the textures of pebbles and grit as Evans makes his way to the coach. The action was replayed many times. As the texture thickened, the fence rail that Evans grabs started to sound different to me. At first it was a soft but distinct scrape against the ground; at the end of the mix, it had a faintly twangy timbre. I congratulated the team on giving the rail its own little moment.

They looked at me. They hadn’t done a thing to the rail.

Two explanations arise, maybe both correct. (1) The sound team said that constantly replaying a clip can create such little mirages. Faced with so much repetition, maybe the mind needs to project some variation into it. (2) Changing the texture of the whole scene can alter our sense of the individual, unchanged elements. If there was a little twang to the rail, perhaps it came from overtones or other emergent qualities of the mix.

Maybe too, in my third hour of concentrating on minutiae of the track, I was getting oversensitive to sound.

Realism and convention

After the stagecoach drives off, Wade and the men guarding him trudge into Evans’ cabin. There’s a short scene with Wade and his wife, and that too needed its ambient filling in. I noticed that the banker, first glimpsed inside the cabin, is somewhat closer to the couple a few shots later. Jim noticed it too. In a jiffy three or four very soft bootsteps and slightly creaking boards were added, so that subliminally we were prepared to see the banker on the porch.

Night falls and two of the men guarding Wade are lingering on the cabin porch. It was simple dialogue, filled out with the atmospheric sound. The sound mixers had to redo one actor’s line reading, yanking an alternative out of the files. Jim still wasn’t satisfied and thought they might reloop the line later. Most interesting was Jim’s idea to add some softly clinking dishes to the tail of the scene, preparing us for the cut inside to Evans’ family at dinner with Wade. In these ways, barely perceptible sound smooths over cuts and shifts of point-of-view.

In the course of all this, as Paul and Mike and the others were fixing things, Jim came back to talk with me. He answered my questions and we chatted about directors, mostly Spielberg. Close Encounters is a favorite of his, and he pointed out ways in which it’s been influential on a range of other movies. He also showed how aware he is that realism in sound goes only so far and that pure conventions often kick in. In a movie, when somebody hangs up a phone abruptly, the person on the other end hears a dial tone. Does that ever happen in life? You just get silence. But the dial tone conveys a stronger sense that the line has been broken.

Jim halted the session as the family dinner scene began. The team would continue to polish it, and he’d be back tomorrow to keep going. I snapped a picture of him just before he left. Later, I caught up with Mike McCusker, who also edited Walk the Line. He has an enormous respect for Mangold, saying that his success with female performers was reminiscent of Cukor’s accomplishments.

Next day, watching the premix version of the whole movie, I saw Christian Bale limp thuddingly to the coach. Almost no moos or jingles, and definitely no clinking crockery. No twang when he picked up the rail. You almost never get a chance to notice this sort of before-and-after differences on soundtracks, and it brought home to me how much skill and effort would go into reworking every scene. Making movies is really, really hard work. And I remembered another reason I like movies: They sharpen your senses.

Coming attractions

I plan to write more on 3:10 to Yuma in a few days. In the meantime, Kristin may be posting her experience at another mixing session–that one in Wellington, New Zealand in May. Over the next week we’ll also be filing reports from Cinema Ritrovato in Bologna. Sign up for a feed if you want to keep abreast of developments.

Last Modified: Thursday | July 22, 2010 @ 22:03    open printable version

This entry was posted on Friday | June 29, 2007 at 10:01 am and is filed under Directors: Mangold, FILM ART (the book), Film comments, Film industry, Film technique, Film technique: Sound. Responses are currently closed, but you can trackback from your own site.