Wayne Pashley

Sound Designer, Big Bang Sound Design

Recent Work

Gods of Egypt; Mad Max: Fury Road; The Water Diviner.


Most of the dialogue in Mad Max: Fury Road had to be re-recorded in post because of engine noise and other commotion from the environment. There wasn’t much scripted dialogue and when we went back to the cast we had to find the truth and authenticity in their words and behaviour. The emotive sounds came from their breaths and grunts. We spent a lot of time with the cast in ADR. It was of the utmost importance to get a character out of each vehicle, as the props became an extension of the human character. Sound can be as powerful as the music score emotionally and poetically as a driver of character. Understanding this can only help with storytelling. We are always looking for the subtext.

Sound can refocus the important parts of the story. I try and not stay on one sonic motif for too long: you’re trying to keep the audience interested.


The current trend is the use of immersive sound such as DTS:X, Dolby Atmos and Auro-3D. Like 3D pictures, these technologies bring the audience holistically into the story. You can be much more detailed when you have 64 discrete channels, placing things artistically where you want the audience to be focused.


We have some of the best sound designers, sound editors and Foley artists in the world. Commercial films these days can become homogenised and sound like each other. We can add a twist. Culturally we hear the world differently and our approach has come from the golden age of Australian cinema.


The excitement of what each day’s challenge will be and how best to approach the filmmakers’ vision. I love it.


My love of film can be pretty all encompassing. But reading, music and surfing.