The sound proposal of 'A monster comes to see me' manages to make the imaginary world of Bayona credible

Peter Glossop, Oriol Tarragó y Marc Orts recogieron el Goya al Mejor Sonido fruto de “encontrar el sonido detrás de cada imagen” en una película en la que lo real se mezcla con lo imaginario y donde tiene gran protagonismo tanto lo que se ve como lo que se oye.

Entre las estanterías de Peter Glossop, Oriol Tarragó y Marc Orts hay ya unos cuantos Goya, que llegan a cinco en el caso de Marc, en el de Oriol son cuatro, y en el de Peter Glossop dos, aunque este último está nominado a los Oscar.

El trabajo con Bayona en A monster comes to see me, según explica Oriol, “ha sido una experiencia maravillosa que consistía en encontrar el sonido detrás de cada imagen. Para conseguirlo hemos conformado un equipo que responde y que sabe tratar cada sonido con cariño para que se pueda reconstruir un mundo imaginario. Cuando se habla de esta categoría de premios, y se los enmarca en el apartado de galardones técnicos, aún siendo verdad, entiendo que el sonido da esa parte sensible a la película. Haciendo una metáfora, diría que es como cuando le aplicas un barniz a un mueble: el barniz es lo que es pero puede ser brillante o mate, puede aportar matices”.

Adding sound to a monster that doesn't exist was a challenge for the team, as Marc Orts explains, "The work has been amazing because they have managed to make something very believable despite being in the world of imagination. Making Liam Neeson a fifty-meter tree that moves and talks is not easy at all. That is the magic of cinema."

The entire soundtrack for the film has been assembled between the studios of Deluxe and Coser y Cantar, by Oriol Tarragó. In the first, once they had all the work done, it was reshaped because there were editing changes along the way and that, according to the protagonists, “was very hard but very effective technical work.” One of the most difficult scenes in terms of sound design was the story scene because there was very powerful music, Liam Neeson's voice and the boy and all of this had to be organized as if it were a large orchestra."

Regarding the differences in work in Spain compared to other countries, Peter Glossop says that he has made “eleven films and that the teams here are very good and know how to work together in such a way that when there is a problem it is not that of one person but that of the entire team.”

Marc Orts is one of the most respected mixing technicians in our cinema and responsible for major box office hits. He started working as a booth and video technician at the Soundtrack studios in Barcelona. After spending a few years learning sound concepts and methodology, he began to enter the world of cinema. He recorded room effects for several films and made the leap to sound editing in feature films, where he has carried out important work that has been recognized.

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