How the 'Blitz' Sound Department Created an Immersive Experience
Editor's note: the following interview is edited for length and clarity.
No Film School: How were you approached for Blitz and what were those early conversations with director Steve McQueen like?
James Harrison: Paul (Cotterell) and I have built a strong working relationship with Steve McQueen over the years, so we were brought into Blitz very early on. We received the script early in the process, along with updates as revisions came through, and made sure to clear our schedules for it.
Our initial conversations with Steve focused on some of the sound notes embedded in the script, but the real deep dive into the soundscape didn’t happen until he was in the cutting room. That’s when we started exploring his ideas in detail and working collaboratively to shape the film’s sonic identity and push its boundaries.
NFS: How was this approach different from other films you've done with him? What has changed since working on the Small Axe series?
Harrison: So Small Axe was a very different beast. It was right in the middle of the COVID pandemic—everything was shut down, and here we were, working from home on these five films for Steve. Due to budget constraints we were an extremely small team and during the final mix. It was just Paul, myself and Steve in the theatre. It was extremely hard work, but it was also probably some of the most fun I’ve had in the industry, and mix-wise it laid the foundation for how Steve wanted to approach Blitz. We all loved the intimate, hands-on process with a small team and carried that same ethos into Blitz.
This time around, we had the advantage of being based in a townhouse in central London. Our cutting rooms occupied the basement and ground floor, Steve and Peter (the editor) worked on the first floor, and the VFX and picture assistants were on the second and third floors. It created a highly collaborative environment. Being directly involved with discussions about picture changes was incredibly valuable, as was having Peter or Steve pop downstairs to review scenes or ideas we were putting together.
NFS: Can you talk through your day-to-day process with this film? Where did you end up starting, and where did you finish?
Harrison: With every large film, the beginning always feels a bit overwhelming. You’re faced with this massive, intricate project—so many scenes, ideas, and details vying for attention. If you’re just starting out in the industry and feel this way, let me assure you: it’s completely normal, and we all go through it.
The way Paul and I work is that he will take the dialogues and crowd work, and I take on the foley, FX, and sound design. For me, the first step is always about discovering the “essence” of the film. What do I want the soundtrack to accomplish? What emotional or narrative layers can the sound design add? Once I identify that thread, everything starts to fall into place. It’s all about building a solid foundation.
I often compare the process to painting a watercolour: you start with broad strokes of background colour, then gradually build in depth and detail. My first step is a backgrounds pass, which establishes the world of the film. This step is particularly helpful for the dialogue team, as it informs decisions around noise reduction and ADR, while also setting the tonal foundation for the rest of the soundscape.
Next, I move on to the big Spot FX and Sound Design—the key sounds in each scene that drive the action or narrative. Once those are in place, I move on to the finer details, usually over a second or third pass. During this time there is always a huge back and forth with the dialogue team—we'll have constant discussions and reviews to see where we can help each other, and if anyone has any interesting ideas.
Then it’s really about refining and honing. I’m never afraid to completely scrap sounds from my timeline and start again if they aren’t achieving what I want them to do. It’s a timely, gradual process of layering and shaping until everything comes together.
James Harrison
NFS: How does the experience differ from other “war” films like Napoleon? Or The Last Duel?
Harrison: One of the things I love most about working in film is the sheer variety. Every project is unique—you’re collaborating with different producers, directors, editors, and sometimes an entirely new sound team. Each film brings its own set of challenges and opportunities, which keeps the work fresh and exciting.
This variety means that no two experiences are ever the same, even within the same genre. With Napoleon and The Last Duel, for example, the approach to sound design reflected the distinct storytelling styles and visions of their director. Each required its own creative solutions and techniques. The beauty of this industry is that every project teaches you something new, and over time, experience becomes your greatest asset.
NFS: What was the biggest challenge for this film? What surprised you about working on this film?
Harrison: I think honing in on the emotion of the film. Track laying and putting down sounds for every event is one thing, but crafting a soundscape that evokes a specific feeling or emotional response is an entirely different task. It requires time, careful thought, and a lot of trial and error to get it just right.
The biggest surprise, though, was Saoirse Ronan’s singing. I already knew she was a phenomenal actress, but when she started singing, and it completely floored me. Her performance added a depth and authenticity that elevated the film in such a beautiful and unexpected way.
NFS: What is the difference in your job when it comes to some of the more action-packed and louder sequences versus the quiet and more intimate ones?
Harrison: Quieter, more intimate scenes require a different approach—you need to watch them in longer runs to truly understand how the subtler sounds fit within the larger context. For instance, to decide if a distant bird or passing car feels right, you might need to review the scene starting a minute or two earlier to see how the sound settles into the atmosphere and contributes to the intended mood.
In contrast, action-packed sequences are all about precision and micro-editing. Tiny adjustments, even as small as an eighth of a frame, can have a huge impact on how the scene feels. These sequences demand intense focus, and they can be much more physically and mentally taxing. It’s crucial to step back periodically and take breaks to maintain perspective and avoid burnout.
NFS: What did you take away from working on this project? And what do you hope viewers (and listeners) take away from this experience, especially from a sonic perspective?
Harrison: I hope we’ve succeeded in immersing the audience in the world Steve has brought to life—letting them not just watch, but truly feel the film on an emotional level. From a sonic perspective, the goal was to create an environment that draws viewers into the heart of the story, making them part of the experience.
There have been countless incredible war films, but very few focus on life at home during the war. I hope this film inspires viewers to reflect on that untold side of history and perhaps even dig deeper into the real-life characters portrayed in the story, as I did.
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