Ioan Bain – sound designer

ioan bainIOAN BAIN has an experience of more than 60 films as a sound designer and was a member in the organization of various festivals in Romania, where he took care that „from a technical standpoint, everything flows naturally. Working at film festivals means joy and excitement.”

He considers himself lucky because he worked with people who have made history in the Romanian sound design and heard their stories. He has been working for over 30 years for the University of Drama and Film, within the Sound Department, and he has seen the first professional steps of many of the new sound designers and editors.

“Mercy Street is the second animation I worked at. Regardless of the film genre (fiction, documentary, animation), for me, it is important to make the viewer feel the excitement, the joy or the sadness that the director wants to share through his film. I always look for making the viewer empathize with us, those who take part in this act of creation.

Working with people is always more difficult. The crew always thinks that “we can fix it at post-synchronous.”

From this point of view, I can say that it’s easier with the animation. It depends only on your ingenuity and skills. In Romania, the sound designer and the sound editor are usually the same person, even if they do different things. A sound editor determines the content and a sound designer makes things to be coherent and consistent.

The dialogue, as often as possible, with the producer Radu Nicolae and the director Ştefan Buzea helped me a lot in this project. Not having much experience in this film genre, I was cautious and always asked for viewpoints, even from my daughter, who studies sound design and editing at University of Drama and Film. Any opinion mattered and any advice was welcome. Obviously, the final decision belonged to the directors.

As a teenager, I use to see everything that appears in theaters, and then I got to work around some of the leading sound engineers in Romania, from my point of view, Andrei Pap, Silviu Camil, but especially Mr. Anusavan Salamanian, whose assistant I was for many years. So I am lucky. Obviously, the great sound designers such as Gary Rydstrom (Saving Private Ryan, Titanic, Jurassic Park), Walter Murch (Apocalypse Now) influence you through their art, but to see films of these masters is one thing and a very different one is to work with directors like Sergiu Nicolaescu, Mircea Daneliuc, Elisabeta Bostan, Dan Piţa, Şerban Marinescu.