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But in stealth mode, if Jean Jacket had a belly full of screaming humans then it might choose to blur things by letting out a whistle that’s the same pitch.Īt the end, when Jean Jacket unfolds and becomes like, "Look at me, I'm attention-seeking," a lot of what you're hearing there is a peacock massively slowed down, and that seemed quite appropriate anyway. So when Jean Jacket is over the house it's happy to let the people down below hear screams and that’s a form of taunting terror. In the same way that Jean Jacket let out a burst of steam to disguise itself as a cloud, we had this other idea that there are moments in the film where retrospectively you can think maybe it’s just mimicking screams. Specifically we looked at the avian world because flight is so economical with energy for birds and a lot of flying creatures mimic sounds. : For the Jean Jacket creature, which types of animal noises did you listen to for inspiration?īurn: I was in a lot of Jordan's Zoom calls to fluid dynamics professor John Dabiri, who was fascinating to talk to. We watched " Close Encounters of the Third Kind" as well and referenced films to each other like Arrival, but there was never any specific aim other than we both enjoyed when that big bassy moment comes in "Close Encounters" and a few filmic moments that we would pay homage to. The way I tend to approach film is a more realistic, warts-and-all type of soundscape, and Jordan had talked in a lot of detail what he loved about "Under the Skin." So I think I always knew what I was trying to do with "Nope." There’s no point in having a bad-acted scream. : Were there any specific movies you screened that helped influence the film's soundscape?īurn: Well, we discussed how the skinny-dipper in "Jaws" is the benchmark terrified scream and how the song world of "Nope" would rely heavily on the credibility of screams. "Jean Jacket" on the hunt in Jordan Peele's Nope. "Make it sound natural, but I want it somehow innately wrong with it." And that's where the alien being side of it came from, rather than being some clever, software-driven monster sound. We were looking at how screams and winds have such a similar trajectory and pitch, so we started painting this blurred space between the two that would sound sort of like a wrong wind. A stealth apex predator is not going to waste energy by making a lot of noise and moving.īut what might make a sound is the things trapped inside it. The wind is changing, and there’s a rustling of leaves and that kind of thing. So we were exploring the ideas of how it would be these disturbances in the environment that would help you realize there was something going on. For the first half of the film the monster in "Nope" is a predator and you'd expect it to be stealthy. : How did you hope to build a credible sound language for "Nope" and what did you and Jordan discuss on how best to apply it?īurn: Right from the start we were pretty clear that this wasn’t going to be a film where we were going to enjoy making super weird alien sounds.
Its sound is quite narrative because there wasn't a lot of dialogue in that film.
The sound is very realistic and it’s almost documentary sound but somehow it’s been conjured into a sort of cinematic universe.
I think what Jordan was reacting to was the rigor with which the sound of "Under The Skin" was created.
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Those processes over many years taught me how to appreciate what is working on sound in film and how a film goes together. And because he’s a very hands-on director he'd edit with me every single minute of the day. : What was it about your work on "Under the Skin" and "The Killing of a Sacred Deer" that made Peele realize you were the person for the job?īurn: He did talk to quite a few people about the role of sound designer on "Nope." He’s just an enormous fan of "Under the Skin." For my film school, it was three decades of working with Jonathan Glazer on music videos, commercials, and his feature films. Sound designer Johnnie Burn on the set of "Nope." (Image credit: Universal)
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