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The World's End Goldcrest Post
Paul Mac talks to Julian Slater and Mark Paterson during the final mix on The World’s End, Edgar Wright and Simon Pegg’s third ‘Cornetto’ movie.
AS HE approaches his 40s, Gary King looks back on an infamous adolescent pub- crawl as the high point of his life so far. In an effort to recapture that time, he reconvenes his original crawl companions to try to accomplish what they failed last time: complete the Newton Haven 12-pub crawl, culminating at a watering hole called The World’s End. Being the third film in
Director and Co-Writer Edgar Wright’s ‘Cornetto trilogy’ (Shaun Of The Dead, Hot Fuzz), The World’s End cannot be so straightforward. Continuing the theme of an enemy host drawn from an otherwise run-of-the-mill community, the comrades
26 August 2013
soon realise that the locals are not what they seem. There is another force at work in Newton Haven... On-screen, co-writer
Simon Pegg plays Gary King, and is joined by long- time collaborator and co-star Nick Frost, as well as a long list of other British comedy and drama A-Listers.
COMMON THEMES Director Wright has proved his worth time and time again, not just with the first two Cornettos, but also with other masterpieces, including the fantastic homage to geek- chique video game culture, Scott Pilgrim Vs The World. In all these, Wright has put consistently high value on the audio aspect. Indeed,
more than that, he has proven beyond all doubt that sound can be as much a creative, narrative, figurative, and comedic device as any other aspect of the film- maker’s toolset. Of course, there’s another
common element among these films: Julian Slater, Supervising Sound Editor, Sound Designer, and Re-recording Mixer. Slater and Re-recording
Mixer Mark Paterson spared me some precious time during the final mix of The World’s End in Goldcrest’s Dean Street Theatre (London). The conversation started with the question of progress – not simply ‘how can you live up to Shaun and Fuzz’
but how can you move things on? Satisfying expectations is only part of the job. “In some respects it is quite a bit different stylistically from the other two,” says Slater. “I think although it is the third in the trilogy, it’s a slightly different beast, and not just sound-wise. Edgar’s trademark has been the jump cuts and the moves accompanied by underlining sounds, and there is not so much of that. I think he felt that had ‘been done’ – and not just by him now. Quite a lot of people ape that, and I think that he wanted to progress a bit. “For the first 40 minutes, it is actually quite a straightforward soundtrack. Then there is a reveal that
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