SoundWorks Collection

How do you create a horror score that defies expectations? For Resident Evil, composers Hays Holladay and Ryan Holladay take an unconventional approach, blending manipulated brass, experimental electronics, and unexpected musical influences to create a distinctive sonic identity for director Zach Cregger’s film.In this conversation with SoundWorks Collection, the Holladay brothers discuss their long-standing creative partnership with Cregger, dating back to their years making music together in a band. They explore how that shared history has shaped their collaborative process, allowing them to experiment freely while remaining focused on the director’s vision.The brothers also reveal how jazz albums by Miles Davis, including Bitches Brew and Dark Magus, helped inform the score’s musical DNA, why they initially sought to avoid synthesizers, and how recorded trumpet and trombone performances were transformed into sounds that blur the line between acoustic instruments and electronic textures.From developing musical ideas before production begins to experimenting alongside the film’s edit, Hays and Ryan explain how an evolving, highly collaborative workflow allows them to discover the right sound for each scene. They also discuss the importance of restraint in horror scoring, avoiding genre clichés, and knowing when the most effective musical choice is to do less.Discover how the composers behind Resident Evil combine experimentation, shared musical instincts, and a deep creative connection with Zach Cregger to build a score that serves the film’s unsettling atmosphere and relentless action.Moderated by Charles Steinberg

The sound of Spider-Noir blends gritty period character with immersive mixing. Re-recording Mixer/Sound Designer Ryan Collins and Re-recording Mixer Nick Offord explore vintage dialogue treatments, atmospheric transitions, distinctive web effects, and inventive sonic details—including a unique sound for Spider-Sense—to create a fresh sonic identity for this new take on Spider-Man.
The team also created a unique sonic identity for Spider-Man’s web powers, deliberately moving away from the familiar sound of previous Spider-Man films. Ben Reilly’s suppressed abilities inspired a drier, more cobweb-like sound incorporating textures reminiscent of bone creaks, while old magnetic film stock was manipulated to create the distinctive trailing sound of the web.
Electricity was another opportunity for experimentation, combining synthetic sounds with organic details to give the power surges weight and scale while maintaining the show’s period character. Even small sounds were carefully crafted, including a skincare wand recording that became the foundation for subtle electrical movements.
It’s a fascinating look at how Collins, Offord, and the wider sound team used experimentation, collaboration, and immersive mixing to give Spider-Noir a sonic identity all its own—all within the intense challenge of a five-day final mix.

Go behind the scenes of Monarch: Legacy of Monsters with re-recording mixer and sound effects editor Shaughnessy Hare and re-recording mixer Brittany Ellis as they explore the art of building scale, emotion, and immersion through sound. From shaping the massive presence of Titans like Godzilla to crafting intimate, story-driven moments, they break down how sound design, mixing, and music work together to guide the audience’s experience.

Go behind the scenes of "Springsteen: Deliver Me From Nowhere", the new film from Director Scott Cooper. We are joined today by production sound mixer Todd Maitland, composer Jeremiah Frates, Re-recording Mixer and Supervising Sound Editor David Giammarco, and Supervising Sound Editor Eric Norris.We discuss shaping the film’s sonic identity — from capturing live vocals on set, recreating Springsteen’s iconic studio environments, and blending Jeremy Allen White’s performances with Bruce’s original recordings, to using silence, heartbeat motifs, and era-specific gear like the Echoplex and the TEAC 114 tape recorder.Hear firsthand stories about filming at The Stone Pony, recording in the legendary Power Station, navigating the emotional father–son finale, and exploring Springsteen’s creative process through sound.

Step inside the sound design and mix of Paul Thomas Anderson’s newest film, One Battle After Another, with this in-depth look at the work of the sound team. Featuring Re-recording mixer, supervising sound editor, sound designer Chris Scarabosio, Re-recording mixer Tony Villaflor and Production Sound Mixer José Antonio García.
We explore how immersive soundscapes were built, how tension was sculpted through long, slow-burn car chases, and how the mix strikes a nuanced balance between grit, realism, and cinematic scale. From chaotic riot sequences to the atmospheric “River of Hills” chase, the team breaks down how rumbles, rattles, wind, and road textures evolve into characters within the story.
We also discuss what makes collaborating with Paul Thomas Anderson so distinct—his clear vision, his creative passion, and his fully hands-on approach to shaping every moment on screen.