Q&A: Supervising Sound Editor Per Hallberg Discusses Working on LIFE, GHOST IN THE SHELL & More

Sounds are often just as vital as visuals in establishing cinematic worlds that we can escape into as moviegoers. This is especially the case in the recent films Life and Ghost in the Shell, and with both movies now out in theaters, we caught up with supervising sound editor Per Hallberg (of Formosa Group) for our latest Q&A feature to discuss his crucial audio work on both films, as well as highlights from his amazing career in cinema.

Thanks for taking the time to answer some questions for us, Per. How did you initially get involved with Daniel Espinosa’s Life?

Per Hallberg: I met Daniel quite a few years ago in Sweden, and when he came to LA to do his first film here, Safe House, he called me to get involved in that project with him. Since then, I’ve worked with him on Child 44. I really enjoy working with Daniel. He’s very clear on what he wants, but never stops anybody to come up with ideas to bring to the table. It’s a really nice and rewarding way to work. So when Life came up, it was more a question of continuing an already good working relationship.

While working on Life, what appealed to you the most about the film, its characters, and its story?

Per Hallberg: I felt like this is a story that does not go too far away from the feeling that something like this could really happen—it’s part of what makes you connect and stay with the story. The feeling of "all is good and calm" in the beginning really sets you up for when things start to go “not so good...”

Once in, it really keeps you on the edge of your seat. But at the same time, I do have to admit that one of the most important parts of a project is the people that you get to work with, and this was such a dream team.

As a supervising sound editor, can you explain the work that you do on films, for those that may not be familiar?

Per Hallberg: My job on a film is to be responsible for all the sounds in the movie besides the music. Together with my team, we work on the dialogue, foley, sound effects, and sound design. We work closely with the director and picture editor in the prep period, and then together with them, the sound mixers, and music crew, we collaborate on the final mix of the film.

What were the challenges or rewards of working with the audio for a film that takes place on a space station?

Per Hallberg: As with every film, one of our big jobs would be to put the audience in a specific place and time, and in this case it’s a space station. We started by listening to a lot of real recordings from the ISS [International Space Station]. That gave us a basis in reality. Then, we could expand and create a sound environment that could have all the impact that we needed, but is also based on the real thing to keep it feeling real. Different parts of the ship needed to feel different and also have the right emotional impact, depending on the feeling of the moment and the need in different scenes. One of the great things about it is that there are a lot of things on the ship that we could use to get it to feel like a living environment.

Did you get to work directly with the sounds made by the film’s alien antagonist Calvin? Can viewers look forward to hearing some unsettling sounds from Calvin?

Per Hallberg: This is one of the really cool and different things about Calvin: it’s not so much about the sounds he makes, as he is not your traditional monster. Instead, it becomes more about the sounds of his actions that we will hear, and I have to say there are some quite unsettling sounds for the audience to look forward to.

Sound design is often crucial in establishing an eerie atmosphere for horror and sci- fi films. Can viewers expect sound to be a key part in creating a sense of unease in Life?

Per Hallberg: In a film like this, sound is a huge part of the experience for the audience. All our work, in combination with the composer’s music and how we mixed it all together, works really well. Sometimes silence is the most effective tool to make impact, and sometimes loud and big is the trick. This film has a lot of both. We are very happy with the dynamics and always changing soundscape in the film, and again, this is important to keep the audience engaged and also to set them up for surprises.

You are also the supervising sound editor on Rupert Sanders’ Ghost in the Shell movie. What can you tell us about your work on bringing the futuristic world of that film to life on the big screen?

Per Hallberg: This is a film that was really dependent on sound transporting an audience to a very different place and time, and at the same time matching the world that is on screen and loaded with visual FX.

You’ve worked on a wide range of incredible films throughout your career as a supervising sound editor. Looking back, do you have a favorite project that was the most memorable to work on?

Per Hallberg: As I mentioned earlier, it often comes down to the people that you get to work with, and to match or enhance their creation. I tend to fall in love with whatever project we are involved in at the moment. This past year, to again work with Daniel Espinosa on Life, with Rupert on Ghost in the Shell, and with Denzel Washington on Fences has been a bit of a dream—great films all, very different from each other, and all fantastic filmmakers to work with. Other films and filmmakers that stick out would be Gladiator and Black Hawk Down with Ridley Scott, Ray with Taylor Hackford, Heat with Michael Mann, and Braveheart with Mel Gibson. Have to admit: it’s very hard to pull any one favorite.

With Life and Ghost in the Shell now out in theaters, what other projects do you have coming up that you can tease?

Per Hallberg: Upcoming work will be on Rampage with director Brad Payton, and hopefully some other fun and different projects.