1 00:00:01,000 --> 00:00:04,000 Hello, KongIsKing.net. 2 00:00:04,000 --> 00:00:08,000 We are sitting here in the lovely Park Road Post doing ADR 3 00:00:08,000 --> 00:00:12,000 with 18 weeks left to go until the movie opens. 4 00:00:12,000 --> 00:00:14,000 Can we get some breath in the voice? 5 00:00:14,000 --> 00:00:16,000 Just to try and get some breath in the voice. 6 00:00:16,000 --> 00:00:18,000 We've got 18 weeks to go! 7 00:00:18,000 --> 00:00:21,000 Don't say that, Colin! 8 00:00:21,000 --> 00:00:23,000 Nobody's panicking. It's all good. 9 00:00:23,000 --> 00:00:25,000 No one's panicking. It's all good. 10 00:00:25,000 --> 00:00:27,000 We're here in the ADR room. Check it out. 11 00:00:27,000 --> 00:00:29,000 Shut up and get to work. 12 00:00:30,000 --> 00:00:34,000 ADR is either Alternative Dialogue Recording 13 00:00:34,000 --> 00:00:36,000 or Automatic Dialogue Replacement. 14 00:00:36,000 --> 00:00:39,000 What ADR actually ends up being, though, 15 00:00:39,000 --> 00:00:43,000 is the process of replacing all of the dialogue in the film 16 00:00:43,000 --> 00:00:46,000 or breaths or grunts or screams or kisses 17 00:00:46,000 --> 00:00:49,000 or anything to do with the human mouth, any vocal quality. 18 00:00:49,000 --> 00:00:53,000 You should, because there's no such thing as a slow death, see? 19 00:00:53,000 --> 00:00:56,000 Look, ADR basically means you're going to be stuck 20 00:00:56,000 --> 00:00:59,000 in a dark room all day. 21 00:00:59,000 --> 00:01:01,000 It can drive you insane. 22 00:01:04,000 --> 00:01:09,000 On the set, they often have, you know, wind machine noise 23 00:01:09,000 --> 00:01:12,000 or they might have, in fact, planes flying over. 24 00:01:12,000 --> 00:01:14,000 There's any number of things that can actually destroy 25 00:01:14,000 --> 00:01:16,000 the actual sound on the day. 26 00:01:16,000 --> 00:01:19,000 So once they've actually cut the scene, 27 00:01:19,000 --> 00:01:21,000 we have to get the actors back in 28 00:01:21,000 --> 00:01:25,000 and record again their lines in the scene. 29 00:01:25,000 --> 00:01:28,000 At the end of the day, we're probably going to be, in fact, 30 00:01:28,000 --> 00:01:32,000 recording about 90-plus percent of the dialogue. 31 00:01:32,000 --> 00:01:36,000 The challenge here is to make the ADR look really natural, 32 00:01:36,000 --> 00:01:38,000 look in sync with their mouths, 33 00:01:38,000 --> 00:01:40,000 so that people aren't questioning it and going, 34 00:01:40,000 --> 00:01:42,000 you know, that doesn't quite look right, 35 00:01:42,000 --> 00:01:44,000 and making it sound natural as well. 36 00:01:44,000 --> 00:01:47,000 In ADR, you get these scripts, but it's not only every line, 37 00:01:47,000 --> 00:01:49,000 it's every little thing that you do. 38 00:01:49,000 --> 00:01:51,000 So one cue will be breaths. 39 00:01:51,000 --> 00:01:53,000 We spend a lot of time shaping breath 40 00:01:53,000 --> 00:01:55,000 so that they have a presence, 41 00:01:55,000 --> 00:01:57,000 so that it doesn't sound just like ADR. 42 00:01:57,000 --> 00:01:59,000 Breaths arriving with camera. 43 00:01:59,000 --> 00:02:01,000 Feverish nightmare breaths. 44 00:02:01,000 --> 00:02:03,000 Breaths while lost in thought. 45 00:02:03,000 --> 00:02:05,000 Concerned breaths. 46 00:02:05,000 --> 00:02:08,000 Breaths looking around for source of gunfire. 47 00:02:08,000 --> 00:02:10,000 Distracted breaths. 48 00:02:10,000 --> 00:02:14,000 An inhale, which is nice, to balance it. 49 00:02:14,000 --> 00:02:18,000 ADR, acoustic development research. 50 00:02:18,000 --> 00:02:20,000 Mostly it's because it doesn't sound good, 51 00:02:20,000 --> 00:02:23,000 but sometimes it's because the acting was... 52 00:02:23,000 --> 00:02:24,000 Ooh! 53 00:02:24,000 --> 00:02:26,000 Peter and Fran have always, 54 00:02:26,000 --> 00:02:28,000 and this is one of the things that they taught me, 55 00:02:28,000 --> 00:02:31,000 is that you get another shot at the story in post. 56 00:02:31,000 --> 00:02:33,000 And one of the places, it's not just in the edit, 57 00:02:33,000 --> 00:02:35,000 it's also in the ADR. 58 00:02:35,000 --> 00:02:38,000 Because voice is actually what carries performance. 59 00:02:38,000 --> 00:02:41,000 Actually, it's kind of cool from an actor's perspective 60 00:02:41,000 --> 00:02:46,000 because it gives you a second chance to act, essentially. 61 00:02:46,000 --> 00:02:49,000 In a lot of ways, it's harder than the original performance 62 00:02:49,000 --> 00:02:53,000 because you've got to match the lips perfectly. 63 00:02:54,000 --> 00:02:57,000 You've got to match the intensity. 64 00:02:57,000 --> 00:02:59,000 You're going to be really up when you see it. 65 00:02:59,000 --> 00:03:00,000 So up is good. 66 00:03:00,000 --> 00:03:02,000 Anne! Come on in. 67 00:03:02,000 --> 00:03:03,000 Let me introduce you to the crew. 68 00:03:03,000 --> 00:03:05,000 Don't erase that one. 69 00:03:05,000 --> 00:03:06,000 Okay. 70 00:03:06,000 --> 00:03:09,000 I think it might be a golden nugget on closer inspection. 71 00:03:09,000 --> 00:03:10,000 Okay. 72 00:03:10,000 --> 00:03:14,000 The actor has to come in here kind of cold, 73 00:03:14,000 --> 00:03:16,000 watch himself act in the scene 74 00:03:16,000 --> 00:03:18,000 and actually get himself back into that mode 75 00:03:18,000 --> 00:03:23,000 so that he can both give us the actual performance on the day 76 00:03:23,000 --> 00:03:25,000 or something better. 77 00:03:25,000 --> 00:03:27,000 Lighten the ship! 78 00:03:27,000 --> 00:03:31,000 Anything that's not bolted down goes overboard! 79 00:03:31,000 --> 00:03:34,000 I lost my breath. 80 00:03:34,000 --> 00:03:37,000 The other reason to do ADR 81 00:03:37,000 --> 00:03:39,000 is because you've reshaped the storytelling, 82 00:03:39,000 --> 00:03:42,000 so you're picking up lines that have never existed before. 83 00:03:42,000 --> 00:03:46,000 You can totally write new dialogue 84 00:03:46,000 --> 00:03:48,000 and throw it into the scene. 85 00:03:48,000 --> 00:03:49,000 For real. 86 00:03:49,000 --> 00:03:50,000 Yes. 87 00:03:50,000 --> 00:03:51,000 Yes. 88 00:03:51,000 --> 00:03:52,000 Yes. 89 00:03:52,000 --> 00:03:53,000 Yes. 90 00:03:53,000 --> 00:03:54,000 Yes. 91 00:03:54,000 --> 00:03:57,000 It would be funny if we did a Peter. 92 00:03:57,000 --> 00:03:58,000 Yeah? 93 00:03:58,000 --> 00:03:59,000 Yeah? 94 00:03:59,000 --> 00:04:00,000 Yeah? 95 00:04:00,000 --> 00:04:01,000 Yeah. 96 00:04:01,000 --> 00:04:02,000 Yeah. 97 00:04:02,000 --> 00:04:03,000 Yeah. 98 00:04:03,000 --> 00:04:04,000 Yeah. 99 00:04:04,000 --> 00:04:05,000 Yeah. 100 00:04:05,000 --> 00:04:06,000 Yeah. 101 00:04:10,000 --> 00:04:11,000 Do a little homage. 102 00:04:11,000 --> 00:04:13,000 Yeah, a little homage. 103 00:04:13,000 --> 00:04:14,000 Yeah? 104 00:04:14,000 --> 00:04:15,000 Yeah? 105 00:04:16,000 --> 00:04:17,000 Yep. 106 00:04:17,000 --> 00:04:18,000 Cool. 107 00:04:18,000 --> 00:04:19,000 That was funny. 108 00:04:19,000 --> 00:04:20,000 That's Pete. 109 00:04:20,000 --> 00:04:22,000 What's the hardest part about ADR? 110 00:04:22,000 --> 00:04:24,000 Getting Jack Black to keep his pants on. 111 00:04:24,000 --> 00:04:26,000 It's pretty hard. 112 00:04:26,000 --> 00:04:29,000 I feel like I could hear my pants a little bit wrestling. 113 00:04:29,000 --> 00:04:31,000 I can hear them. 114 00:04:31,000 --> 00:04:33,000 Let me take care of that. 115 00:04:35,000 --> 00:04:37,000 Let's do it again.