Kristin Marguerite Doidge
Emmy-nominated re-recording mixers Penny Harold and Andy Lange are on the most creative and meaningful project of their careers: the second and final season of “Arcane,” a groundbreaking adult-animated steam Punk Action-Adventure Action-Adventure Television series Netflix, in Riot Game”Leymends’Univerends”Universe of Netflix.
Harold and Lange’s performances are as big as “Arcane”, knowing the importance of being clear and coherent to all the numerous sound elements – keeping the bombing soundtrack balanced with the important conversation – to ensure that everything can be heard effectively. They previously worked together on other critically-acclaimed shows, such as “Beef” and “Only Murders in the Building,” but said their non-animation background was actually seen as an asset by the show’s developers, who were seeking a team that could handle the show’s complex and immersive sound design—including intense battle sequences and high-energy songs–-in order for it to be enjoyed by a younger audience and potentially, on smaller screens, such as iPhones.
Originally from Shreveport, Louisiana, Harold’s experiments with early home recording techniques inspired Harold’s passion for sound. Although a talented singer, her stage fears have led her to explore recordings and post-production. For Lange, from East Grand Falls, Michigan, his love of duets, songwriting, films and guitar led to his pursuit of audio and video production in college.
Cinemontage recently caught up with the Los Angeles duo to discuss the views they have taken from their work on “Arcane,” how to get rid of old habits from twenty years of sound work, and advice for aspiring blenders.
Movie: How did each of you start doing sound mixing?
Harold: I started with a smaller post office and when I was in the rankings I had to do a lot of different jobs and it was a very amazing experience. I ended up finding the way to be a reasonable supervisor – I did it for nearly 10 years. I think I was aware as a supervisor that the mixture really affected the final product, and sitting there watching these legendary mixers, I just thought about, “I want to do this.”
Lange: I think like many people in the audio world, I am both musicians. I loved film and music since I was a kid, which led me to study audio and video production at Michigan State University. I had an amazing professor there, Gary Reid, who encouraged me to say, “Maybe you should go to LA and hang with some of the former students I’ve been successful in the industry now.” So I grabbed the bait and took a big move and through these connections I landed my first show at a smaller production company where I had to try every job along the way.
Eventually, I was watching something that affected my voice and the concert affected me, so I landed in the mix. I think how audio and music attract our ears, no matter where you come from or what language you speak, I think it’s universal. As a mixer, we can really shape the final step in the process of delivering content.
Movie: How to manage workflows when teamwork?
Harold: We have been working together for about five years, and we have been very cooperative for nearly six years. For our workflow, it depends on the show. Usually, we are offline with each other and each pre-booted, we work separately at the same time. Neither of us worked on the headset. Then I stuck to the music, he stuck to Foley, and eventually we linked it up, and that’s where we put everything together.
Lange: Penny mixes all the conversations, loop groups and music, I mix sound effects, backgrounds and Foley together. So each of us has something we want to manage, but we sit next to each other and we browse the scene together. There is no self here. We are absolutely open and we ask each other what they think and give each other advice and advice. It’s just part of the process: Everyone in the room is trying to do the best together with the voice supervisor and the team.
Cinemontage: Tell us how your recent project, “Arcane”, came into being? Have you done anime or animation before?
Harold: This is our first time. In fact, for Arcane, they specialize in looking for non-animated mixers because I think they want a team that can do things on the broadcast schedule (so fast), but still one that can handle feature level details. “Arcane” is different from any animated series there. It’s very groundbreaking, so the goal never makes a cartoon, the goal always tells a story and makes it as cool and immersive as possible. Honestly, what we bring is an openness and willingness to explore and experiment with different ideas, as the team has always wanted to try to break the rules and bound habits.
Movie: What does this mean to you?
Lange: “Arcane” is Riot Games’ first TV show, and as Penny says, their vision is to break expectations of all the rules and destruction you would normally see in another animated series. Therefore, for better or worse, they do not necessarily know what the normal process and workflow is. They just know they want to make something very exciting and unique. So for us, I think what we are going to take out from it is an open mind, which can also be transferred from our normal mixing process, trying new workflows and understanding where creativity can lead.
Cinemontage: Will you join you on this particular show on other projects?
Harold: There is a battle sequence in the ending, almost a quarter of the plot, which is probably one of the times that Andy and I have been through, and it does give us an edge. It is very important to have someone next to you give out your thoughts. This is a show, and if you are not careful, it will quickly get very crowded. So, in a moment, you’re choosing the main player…we do it every five to 10 seconds. Our process is very surgical. Every show has such moments. It’s just that “Arcane” is so crowded.
Lange: There is a lot of great music this season, and a lot of the battle scenes take place in big needle songs, so for me, being a sound effect mixer, it was always a huge challenge for me – bringing the right level to the sound effect to make us feel it, but we didn’t stomp on the song. There is a moment in the finale that thinks of Jinx’s big entrance in the airship, but then, the huge needle song begins – “Come on” for the stray children – Jinx immediately throws all these bombs on the city below. I don’t want to step on the lyrics of this song, so we just want to feel the effects without getting out of the song, and then when there’s a breakout in the lyrics, the sound effects can come up and carry their moments.
Cinemontage: What advice does all your successes offer for aspiring audio mixers on many acclaimed shows?
Harold: Attitude is very important. You always have to have the willingness to adapt, and yes, working with someone who doesn’t match your intuition but is not impossible is a challenge. You have to bring the needles close to them. When I showed up, I worked with many people who always did this, I just watched how easy it became, and I was like, “God, when will it happen to me?” I wanted to go to the storytelling solution they did as naturally as they did, and I didn’t realize it only takes time. Speed and natural decisions are coming, but you have to experiment and you have to play and you have to stick with it.
Lange: Don’t be afraid to connect with your peers and look for a mentor. This industry is very difficult, so don’t try to go alone. Mixers love to laugh at sounds, so you’ll be surprised that someone who might not seem close will really like to share their knowledge. I also think your career is just a part of your career. Just remind yourself to have fun every day and create a great environment for your clients and staff.
This interview has been edited for length and clarity.
