Beyond the Screen

How did you get into sound design?

I started playing the piano as a child and while playing music I could immerse myself in my own world. Later, I discovered my fascination for sound. I studied “Tonmeister” (sound engineering) for classical music at the Zurich University of the Arts ZHdK. There I was able to realize my own projects and experiment with different recording and mixing techniques. I did my first project in film sound during my Master's degree.

And what makes film sound special?

I am fascinated by telling stories through sound and bringing them to life. Sound design is an essential part of storytelling and it goes far beyond creating something that sounds good. Being able to explore these topics and working together with others as a team towards an overarching goal is the greatest thing for me.

You were nominated for the Swiss Film award for Best sound with BERGFAHRT by Dominique Margot. What did you particularly like about it?

This project was special because, on the one hand, the sound world of the mountains plays an active part in the film and, on the other, it has its very own narrative style. There are many beautiful moments in which the atmosphere of the mountain world manifests itself in sound and can unfold. I really enjoyed working on it.

Are you trying to capture sounds everywhere?

I (almost) always have a small recording device with me.

Would you recognize all your films from dialogue excerpts?

Yes, I would say so. Individual phrases sometimes come back to me months later, like a song that it stuck in my head.

As a sounds designer, how do you experience screenings in the movie theatre, do you keep your eyes closed?

No. The visual level is not unimportant, alongside the sound (smiling) fifty-fifty is what they say, isn't it? But I do focus a lot on the sound when I go to the movies. I can't really block it out. That also applies to situations when I'm not at the movies - which isn't always an advantage. But everything that surrounds me can be a source of inspiration. The trick is just to be able to switch off sometimes.

Is the sound scene internationally connected or is it a "swiss bubble"?

In the case of Swiss projects, the sound post-production team usually comes from Switzerland. For co-productions with other countries, the team can be mixed. For projects not funded in Switzerland, the teams are often spread across several continents. The sound community has a strong international network and many people are happy to share their passion and experience with others. I really appreciate this exchange.

Which film projects would you particularly like to work on?

On film projects where sound is part of the story process from the very beginning and the sound designer is involved early on. The best thing is when the filmmakers recognize the possibilities of the soundtrack as an essential design element and bring an openness and curiosity to the table, allowing you to develop ideas and experiment together.

What projects are you working on next?

My next projects include DON'T LET THE SUN (CATCH YOU CRYING) by Jacqueline Zünd, GIRLS & GODS by Verena Soltiz and Arash T. Riahi, HELDIN by Petra Volpe, MUTTERGLÜCK by Johanna Moder and two American productions in the second half of the year.

What is most important to you when working on a project?

Early and open communication between all the different departments involved and in the sound team itself is something I pay attention to. I try to create an atmosphere within the team where everyone feels recognised, well respected and every idea is welcome. I approach each project with an open mind and with curiosity. It is important to me to pay attention to every detail and at the same time not to lose sight of the bigger picture. With every new project, I ask myself: what does the story need at this moment, how can I best support it on the sound level and realize the director's vision?

What do you like best about your job?

To discover different stories and work with the people behind them. Always being able to explore new characters and their way of perceiving things and to put myself in their shoes in order to develop the understanding that it takes to be able to create the sound scape of a film. The diversity and variety that results from this. The opportunity to constantly learn new things and share my passion with others.