Post-production uncovered: Formosa on Lee (Sky)

Formosa Group Trident has revealed the work that went into audio post-production on Sky Original film Lee.

Produced by Sky Original alongside Brouhaha Entertainment and Juggle Films, Lee stars Kate Winslett as American war correspondent Lee Miller and provides a unique lens on the Second World War and the horror of the Holocaust. It will be available on Sky Cinema from 1 November, after a run in cinemas. 

Audio post-production was completed at Formosa Group Trident in London with supervising sound editor Jimmy Boyle and re-recording mixers Mike Prestwood Smith and Candela Palencia. Nigel Mills was supervising dialogue/ADR editor, with Jamie Roden and Vincent Cosson as additional ADR editors and Darren Banks and George Riley on SFX design and editorial.

Stuart Bagshaw was foley editor, with Rob Price as foley mixer and Jason Swanscott as foley artist. ADR voice castins was handled by Phoebe Scholfield, and French ADR supervision and voice casting was completed by Vincent Cosson and Tom Nicolas.

Formosa Group’s approach for the sound aimed to reinforce Lee’s journey intimately and personally. From the frivolity and lightness of pre-war French Riviera to war-torn London during the Blitz, Lee confronts the establishment and joins the war effort, traversing Europe.

The film travels from the cacophonous terror of a besieged St. Malo, to a riotous celebration in the liberation of Paris, and the hushed shock of a newly liberated Dachau as characters discover the truth, with the sound designed and mixed for maximum realism and visceral impact. 

Prestwood Smith said: “Kate Winslet’s passion project of many years was a joy to work on. It was an honour to be a part of telling a historic story so relevant and poignant today with such passionate and committed people.’’

A standout scene in Dachau is followed by glimpses of a newly occupied Hitler’s residence, where allied troops celebrate a moment of victory amidst destruction, and Lee Miller captures her famous photograph in Hitler’s bathtub. All crowd and source music blend to create a sense of joy and relief, while Alexandre Desplat’s observed score adds depth, pulling the audience towards the truth and darkness beneath the surface. The film, a dramatised production, excludes archive footage except for the ending, where some of Lee’s real photos are shown.

The narrative, structured as an interview with a journalist towards the end of her life, holds a twist, which won’t be spoiled. Sparing dialogue guides the audience through the narrative, with the story primarily told through the principal characters. Formosa Group Trident premixed interview dialogue scenes for a full and rounded sound, aiming for transitions to feel like a natural continuation of the conversation. The hope was to make the track sound detailed yet clean and not overcomplicated, trying to balance dialogue, foley, FX, atmospheres, crowd, FX crowd, and designed elements, harmonising to tell the story.

There was a firm approach to elements that could distract from the conversation, whether literal panning or maintaining focus during music or action scenes. This included focusing on supporting scenes with subtle FX and ambiences that look to aid the story without distracting from the dialogue. The team designed ethereal tones and details from relevant elements where possible, such as a bomber drone-style building tone for tension.

With a fair amount of the film set in France, crowds for those scenes were shot there. Early conversations with filmmakers discussing various ideas were had, which aligned with the general aesthetic, elevating the experience, story, and emotion.

Boyle said, “I am extremely proud to have been involved in helping to tell this very important story about an incredible person.”

Producer, Kate Solomon, commented, “Working with the team at Formosa was wonderful, they understood exactly what we wanted from the audio in Lee and what the film meant to us. The mix does so many different things for the audience and the team navigated the soundscape beautifully, bringing us into each element and adding to each scene.”