Sound and Music HUB PROGRAM

24 JUN | 11:00 | ACADEMIA DE MÚSICA
The Sound of Storytelling: Eddy Joseph and Paul Davies in Conversation
Paul Davies & Eddy Joseph

In this special Sound and Music Hub session, acclaimed sound professionals Eddy Joseph and Paul Davies come together for an in-depth conversation about the creative role of sound in film. Through selected case studies and clips from their work, they will explore how sound design, silence, atmosphere, dialogue, effects and music can transform the meaning and emotional impact of a scene.

Rather than focusing only on technical processes, the session will look at sound as a narrative language: how to build a sonic world, how to collaborate with directors and editors, how to decide what should be heard or withheld, and how sound can guide the audience’s experience in subtle but decisive ways.

Bringing together two distinct creative approaches, this conversation will offer filmmakers, sound professionals, composers, editors and students a rare insight into the artistic decisions behind memorable cinematic sound.

24 JUN | 14:30 | ACADEMIA DE MÚSICA
Beyond Traditional Scoring: Composing for I See Buildings Fall Like Lightning
Harry Escott

Composer Harry Escott explores his work on I See Buildings Fall Like Lightning, his latest collaboration with filmmaker Clio Barnard. Using the film as a case study, he will reflect on a variety of approaches to scoring, from compositions rooted in harmony and melody through to music that moves beyond traditional scoring, drawing on rhythm, texture and atmosphere to create an emotional response. Through examples from the film, Harry Escott will discuss the creative decisions behind the score and reveal how he developed a musical language that feels inseparable from the world of the film itself, blurring the boundaries between score and sound design. 

24 JUN | 16:30 | ACADEMIA DE MÚSICA
Inside the Sound of Michael: A Case Study with John Warhurst
John Warhurst

How do you recreate the sound world of one of the most iconic performers in music history, while still serving the emotional and dramatic needs of a feature film?

Using “Michael” as a central case study, Warhurst will explore the creative and technical challenges of building the sonic identity of a music biopic: from recreating legendary performances and working with vocals, recordings and musical references, to shaping atmosphere, rhythm, emotion and point of view through sound.

The session will look at how sound can support performance, memory and spectacle, while also helping to construct an intimate portrait of a globally recognised figure. Warhurst will discuss the relationship between music and sound design, the importance of authenticity, and the delicate balance between historical recognition and cinematic storytelling.

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PREVIOUS SPEAKERS

Will Files: Sound Designer and Supervising sound editor. "Stranger Things", "Venom" and, most recently, “Batman”, are his most recognized work.

John Cameron: Composer and arranger. John Cameron shares insights from his decades‑long career scoring for film, television, and musical theatre, leading up to his Oscar‑nominated "A Touch of Class" and large‑scale theatrical productions such as "Les Misérables".

Mark Ulano: Sound mixer, with a 25-year collaboration with Quentin Tarantino, being an Oscar nominee for his work in "Once Upon a Time in Hollywood" and "Inglourious Basterds”.

Cyrille Aufort: Composer awarded with an International Emmy Award for best original music in “March of the Penguins 2: The Call”.

Jens Petersen: Sound Designer for "Bohemian Rhapsody", "Moonage Daydream", "Enola Holmes", "The End We Start From". 

Paul Davies: Sound Designer and Supervising Sound Editor. "We Need to Talk About Kevin", "Touching Evil", and "You Were Never Really Here" are among his most recognized works.

Nina Hartstone: Oscar-winning supervising sound editor for “Gravity” and "Bohemian Rhapsody” films.

John Warhurst: Oscar-winning supervising sound and music editor. He worked in “Sweeney Todd”, “Les Misérables”, “One Direction: This Is Us” and, most recently, “Bohemian Rhapsody”.

Patrushkha Mierzwat: One of the first women to work as a sound operator in Hollywood, with a 40-year career in films, such as "Spy Kids", "From Dusk Till Dawn" e "Killers of the Flower Moon".

Rémi Boubal: French composer, whose works are "Plan 75", directed by Chie Hayakawa (Special Mention Caméra d'Or at the 2022 Cannes Film Festival), "Fleuve Noir" by Erick Zonca, "Nuestras Madres" by Cesar Diaz (Caméra d'Or at the 2019 Cannes Film Festival), "Les Révoltés" by Simon Leclère and many more. He has also written scores for documentaries.

John Rogersin: He already has a vast career when it comes to sound work, such as sound design, sound mixing, sound editor, dubbing treatment, sound engineer and many more. One of his most notorious works was even nominated for the BAFTA TV Award for Best Sound in "Forces of Nature with Brian Cox".

Eddy Joseph: He has worked on more than 80 films and won several awards for his work as an editor and sound designer. We can hear his great work on projects such as "Interview with the Vampire", "Harry Potter & the Sorcerer’s Stone", "Cold Mountain", "Charlie & the Chocolate Factory", "The Corpse Bride" e "Quantum of Solace". Eddy Joseph has won the BAFTA Award for Best Sound twice, first with "Pink Floyd: The Wall" and again with "Casino Royale".

Tristin Norwell: Tristin Norwell is a classical violinist and composer for films and television series. Some of his best-known works are the TV series "Killing Eve" and "Tiny Star".

Klea Savidge: She is a music supervisor whose career includes works such as "House of Gucci"; "Brooklyn" was also nominated for an Oscar with two films and won a BAFTA. She specializes in feature films and documentaries, such as the films "Three Identical Strangers" and "Billie".