The Sounds of Violence

The scene begins (spoiler alert) with the faint squeak of an elevator door?"a sense of opening into a small and confined world where things are going to change," says supervising sound editor Lon Bender of Soundelux, who stands to win the Oscar with his colleague Victor Ray Ennis. The Ryan Gosling character, known as Driver, steps into this world with Irene (Carey Mulligan), and the elevator car hums and creaks its way down toward the garage. But when Driver sees a gun in the pocket of the elevator's only other passenger, a hit man, the elevator noises disappear. The lights dim as Driver kisses Irene in slow-motion. Then, suddenly, the sound is back and we're in the midst of some raucous violence: a pair of hollow, crashing sounds as Driver smashes the hit man?s head into the elevator walls; then more clunking as he falls to the ground and Driver starts stomping on his head, once, twice, three times, with his boot. The sound of leather on skin shifts as the assault goes on toward a blend of moisture and crunch. At the 12^th stomp, it's clear from the audio that bones are breaking, and by the end of the sequence, after 15 seconds and 17 stomps, the dry and featureless thud has been transformed into a deathly squish. The elevator doors slide open again, with the same faint squeak they did before?Bender calls this a "sonic signature"?and Irene flees into the garage.

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