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'Everybody came with their A-game': Oscar-winning sound editor Andy Nelson talks reuniting with Spielberg & John Williams for 'Disclosure Day'
'The truth is, everybody came with their A-game. Because the script called for it. Steven definitely calls for it.'
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If there's anyone who has their ear to the ground when it comes to Steven Spielberg projects, it's British Sound Editor and Re-Recording Mixer Andy Nelson. This legendary sonic wizard has been a crucial creative element in 21 Spielberg films and has won multiple Academy Awards for best sound achievements in classics like "Schindler’s List" and "Les Misérables." In fact, he's been nominated for more Oscars (25) than any other living person, after the great John Williams.
For "Disclosure Day," Nelson once again teamed up with his longtime collaborator to lend his considerable expertise to the sound editing and final mixing of Spielberg's sci-fi film, which he considers to be one of the master’s best works in years.
We connected with Nelson to hear more about "Disclosure Day's" acoustic game plan and how dialogue, sound effects, and music perfectly fused together.
"My first film with Steven was 'Hook,' and this particular film, which I'm incredibly proud of, is actually my 21st movie working with Steven," Nelson tells Space.
"It's just been one wonderful event after another. The thing with Steven is that his stories are so fascinating, and I knew that he was so excited about this, to revisit and kind of almost bookend something that he started with 'E.T.' and 'Close Encounters.'"
Disclosure Day's plot was kept under tight wraps, even in the trailers, as Spielberg sought to keep an air of mystery to his sci-fi thriller. "I did get to read the script early on, locked in a high security room as you can imagine," reveals Nelson. "As I was reading, I got so excited because it’s a thrilling chase movie that’s got a ton of emotion but keeps your heart racing the whole time.
Spielberg wasn't the only long-time collaborator that Nelson was reunited with on this movie, though.
"For me, it was, 'Oh my gosh, how are we going to do this?' Obviously, I've also worked many times with John Williams, who decided he was going to write the score, which is absolutely stunning that he did that," explains Nelson.