Nominated for 13 Primetime Emmy Awards®, “Ripley,” the new Netflix limited series from creator Steven Zaillian, is a masterclass in filmmaking and the art of sound. So it’s no wonder that two of those nominations are for Outstanding Sound Editing and Sound Mixing. And it’s clear why the sound team was given so much creative freedom to explore the sonic possibilities of the show, as many of those details and nuances were written directly into the scripts, and overseen by a showrunner with a sharp attention to detail.

“Without a doubt, Steve Zaillian pays attention to every footstep and every breath and every movement.”

—Michael Barry, Re-recording Mixer, “Ripley”

Today we are joined by members of the sound team behind the show, including:

- Larry Zipf, Co-supervising Sound Editor/Sound Designer and Re-recording Mixer

- Michael Feuser, Co-supervising Sound Editor

- Michael Barry, Re-recording Mixer

- Maurizio Argentieri, Sound Mixer

NOTE: This interview contains spoilers! So be sure to check out “Ripley,” now streaming on Netflix in Dolby Vision® and Dolby Atmos®, before listening.

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How Hollywood studios work and operate can be mystifying, especially for emerging filmmakers. Luckily, Dolby Institute Fellowship winner Carlos Lopez Estrada returns for another of his excellent Satellite Sessions (this one from December), featuring executives from some of the biggest studios in the entertainment industry, all to help de-mystify how they, and the studios, find, develop, and produce their projects.

Joining the discussion are:

- Vanessa Morrison, President of Streaming, Walt Disney Studios Motion Picture Production

- Mika Pryce, Senior Vice President of Production, Paramount Pictures

- Sheila Walcott, Senior Vice President of Creative Development, Warner Bros. Entertainment

- Ryan Jones, Senior Vice President, Production Development, Universal Pictures

- Tara Duncan, President, Onyx Collective

This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.

Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.

Antigravity Academy

CAPE (Coalition of Asian Pacifics in Entertainment)

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Pulitzer Prize-winning and Emmy- and Grammy-nominated composer Michael Abels joins our guest host, music journalist Jon Burlingame, to discuss the music of “Star Wars: The Acolyte.” The music for the series was a massive undertaking, made even more formidable by the knowledge that every cue would be compared to the work of legendary composer John Williams. But as a longtime fan of “Star Wars,” Abels jumped into the project eagerly.

“I'm one of those people who saw the original trilogy in the theater, so I've grown up with ‘Star Wars’ and with the music of John Williams… I think every fan actually has an assessment of what makes ‘Star Wars’ ‘Star Wars.’ So Leslye [Headland, creator and showrunner] and I talked about that… And we quickly aligned on that the music of ‘Star Wars,’ while it's not necessary that it be old-school or traditional or orchestral, that's something that we both valued. And so it was our intention to have the score be very traditional in places where it called for that and where that would work. And at the same time, there are definite ways in which this series explores new ground. It's all new characters. There's a method to the storytelling that's distinctly Leslye’s own. And so in those places, the score does what it needs to do to bring this new element to the story.”

—Michael Abels, Composer, “Star Wars: The Acolyte”

Be sure to check out “Star Wars: The Acolyte,” now streaming on Disney+.

Please subscribe to Dolby Creator Talks wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.