Mr. Robot picture editor Philip Harrison and sound editor Kevin Buchholz speak to Sound and Picture about creating a taut, authentic, and cinematic cyberhacking thriller.
“To me, one of the most impressive things about Mr. Robot is the different pacing of the story and the internal pacing of scenes, which was a real challenge when I first started working on it, because I’m used to cutting on every line and keeping things really snappy,” says Harrison. “[Director Sam Esmail] insisted that we keep Mr. Robot cinematic, and he asked us to do without those kinds of bells and whistles. He wants us to trust that our characters and our storylines are interesting enough on their own. We slowed down the pace, and eventually I was able to adjust to this mindset. And what happened for me is that, when I approach the material now, I’m hanging on every word and everything has a potential meaning. I think that’s part of why the sound style can work, because underneath everything there’s such a fullness and a trusting of the story, so you don’t need sound effects popping in and keeping you active. The story itself is just so engrossing.”
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