We sincerely liked his stage the best, and thought it was where we could deliver the best work. To some, it might have appeared we were just kissing up to Peter, but that was just a fringe benefit.
It was clear to all three of us that Peter’s was where we wanted to do it.
We toured several, and then continued on to NZ to check out Peter’s facility. New Line was apprehensive about doing the sound job in NZ, so they wanted us to look at some alternate mix stages in Sydney. We also took a little detour through Sydney. When someone flies you halfway around the world, you feel like there’s a lot on the line. Both of those guys had met Peter in person before, and Phil had done an entire show with him, so I was a bit nervous.
I tried to ask for the stuff you can’t find detailed in other interviews or the BTS of the DVDs, so… Hope you enjoy it!ĭesigning Sound: When did you start on the films and how what were initial conversations with Peter Jackson and company like?ĭavid Farmer: My first trip over was with Chris Boyes (who recommended me for the project – thanks Chris!), and Phil Benson (Supervisor on PJ’s “The Frighteners”). Here is the final article of the great David Farmer Special, an interview we had with him, talking about his work on LOTR.
