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They overlapped that much.”ĭuring the final mix at Formosa’s Stage B on The Lot, re-recording mixers Andy Koyama and Martyn Zub - who both mixed the first John Wick - along with Gabe Serrano, approached the fight sequences with effects leading the mix, since those needed to match the visuals. When we put them together we couldn’t understand what was going on.
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I listened to just the sound design, and that was great. “I listened to just the music, and it was great. “Our composer is very good at creating a score that is individual to John Wick,” says Stahelski. Sometimes, the frequencies in the music can steal all that space.”Ĭomposer Bates’s score was big and bold, with lots of percussion, bass and strong guitar chords that existed in the same frequency range as the gunshots, car engines and explosions. To achieve that, you want to have a low-frequency punch to the effects. “The director wants his sounds to be big and bold. “The more sound elements you have, the more delicate the balancing act is,” he explains. Gun fights, car chases, punches and impacts - Stoeckinger knows that all those big sound effects in an action film can compete with the music and dialogue for space in a scene.
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Mission Impossible II and III, both Jack Reacher films, Iron Man 3, and the upcoming (April) The Fate of the Furious, are just a part of his film sound experience. Supervising sound editor Stoeckinger, at the Formosa Group in West Hollywood, knows action films.
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I’ve learned more from those guys about sound in these last two films then I thought I had learned in the last 15 years,” says Stahelski. This sound team was one of my favorite departments to work with. Mark and his team talked about how to make it sound bigger and more unique how to make this movie sound as big as we wanted it to look. “It was so collaborative and inspirational. It’s the sound and the look and the vibe - the combination is what grabs people.”īefore the script on John Wick: Chapter 2 was even locked, Stahelski brainstormed with supervising sound editor Mark Stoeckinger and composer Tyler Bates - alumni of the first Wick film - and cinematographer Dan Laustsen on how they could go deeper into Wick’s world this time around. Much of what I know about sound and lighting has to do with their perspective that every little bit helps define the world. “The Wachowskis are some of the best world creators in the film industry. His inspiration for John Wick comes from his experience as a stunt man and martial arts stunt coordinator for Lily and Lana Wachowski on The Matrix films. Stahelski builds a visually and sonically engaging world on-screen, and then fills it full of meticulously placed bullet holes.
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