Few films delivered the sheer auditory spectacle of Pacific Rim. From the ground-shaking footfalls of colossal Jaegers to the guttural roars of Kaiju, the film’s soundscape was nothing short of a masterpiece. Behind this sonic brilliance was Scott Gershin, a veteran sound designer whose passion for storytelling through sound was evident in every project he touched. In a Q&A, Gershin delved into his process, challenges, and the artistry behind creating the soundscape for Pacific Rim.
Bringing Kaiju and Jaegers to Life
One of the most exciting aspects of designing sound for Pacific Rim was crafting distinct voices for the Kaiju. Unlike other monster movies, where creatures might share similar sonic qualities, each Kaiju in Pacific Rim had a unique identity. Gershin described the process as akin to composing music—some creatures required deep, resonant tones, while others needed higher-pitched, aggressive shrieks.
To achieve this, he recorded a range of animal sounds, including elephants, tigers, lions, and even raccoons. However, real-world recordings weren’t always enough. Some sounds needed to be exaggerated or transformed using digital tools. “I wanted to avoid using my usual sound library and do something unique,” Gershin explained. “So, we went out and recorded all sorts of things—animals, industrial machines, and even dropping massive cargo containers in Long Beach just to get the right impact.”
Similarly, the Jaegers posed a challenge. These massive machines needed to sound heavy yet functional, avoiding the overly sleek, high-tech sounds associated with films like Transformers. Gershin and his team opted for more mechanical, industrial noises inspired by aircraft carriers and military destroyers. “Guillermo [del Toro] didn’t want them to sound too sci-fi. He wanted them to feel grounded,” he noted.
The Process: From Pitch to Final Mix
Gershin’s involvement with Pacific Rim spanned nearly two years, beginning before the film was even greenlit. “Guillermo came to me early on and said, ‘I have this idea. Can you help me with the pitch?’” From there, he became deeply embedded in the film’s development, helping to shape its sonic language from the ground up.
The sound design process followed a natural progression, starting with broad strokes and gradually refining details as the film took shape. In the early stages, when animation was incomplete, the team used storyboards and animatics to guide their sound experiments. “For a long time, it looked like a giant South Park movie,” Gershin joked. “But as the visuals evolved, so did our approach to sound.”
One of the most crucial aspects of the process was ensuring scale. When dealing with towering, 25-story-tall robots, sound design had to reflect their massive weight and power. “We spent a lot of time making sure every punch, stomp, and roar felt enormous but also had clarity,” he said.
Challenges and Creative Problem-Solving
Sound design was as much about problem-solving as it was about creativity. Gershin recalled an early challenge with one of the film’s Kaiju, Otachi. Initially, the sound team assumed the creature would primarily roar, but as the animation developed, they realized Otachi had a far more dynamic range of movements. “For the longest time, every storyboard had its mouth open, so it was constantly screaming. But when we saw the final animation, we knew we needed to rework its sounds to reflect its personality.”
Another unexpected challenge came from attempting to record mining equipment, which seemed like a great idea conceptually but turned out to produce little more than diesel engine noise. “Sometimes, you think something will sound amazing, and then you get there and realize it doesn’t work at all,” Gershin laughed. “You just have to adapt and keep experimenting.”
Collaboration and the Art of Mixing
Despite his extensive hands-on approach, Gershin credited much of the film’s success to the collaborative nature of the project. His team included talented sound designers like Charlie Campagna and Peter Zinda, who helped build a rich and layered sonic environment. “It’s like being in a band. Everyone brings something unique to the table,” he said.
Mixing the final soundscape was another crucial stage. With over 2,000 sound tracks in play, balancing dialogue, music, and effects required meticulous attention. “At any given moment, someone had to take the lead—sometimes it was the music, sometimes the effects, sometimes silence,” he explained. “Silence, if used correctly, is the most powerful sound we have.”
Sound Design Tips from Scott Gershin
Throughout the Q&A, Gershin shared valuable insights for aspiring sound designers.
- Use Negative Space: Silence can be one of the most powerful tools in sound design. In Pacific Rim, Gershin emphasized that the real challenge wasn’t deciding where to be loud but rather where to go quiet to give the audience a break.
- Experiment Relentlessly: Gershin and his team spent months recording unique sounds, including unconventional objects like giant cargo containers and mining equipment. However, not every idea worked, highlighting the importance of trial and error.
- Think Like a Musician: Gershin compared sound design to composing music, where different elements contribute to a larger composition. This approach helped maintain clarity and balance within the complex soundscape of Pacific Rim.
- Collaborate Effectively: Sound design is rarely a solo effort. Gershin relied on a team of experts to bring the film’s world to life, likening the process to being in a band where each member contributes something unique.
- Prioritise Realism When Needed: While Pacific Rim is a science-fiction spectacle, the sound design remained grounded in real-world physics. By basing the Jaegers’ sounds on aircraft carriers and military destroyers, Gershin ensured they felt tangible and weighty.
- Understand the Emotional Beats: Sound isn’t just about effects—it’s about storytelling. Gershin and his team carefully adjusted the mix to highlight the film’s emotional moments, pulling back sound effects when music or dialogue needed to take center stage.
- Build a Personal Sound Library: Gershin recommended that sound designers record their own unique sounds whenever possible. Having a personal collection of recordings allows for more original, distinctive work rather than relying on stock libraries.
- Listen to Your Environment: He emphasized the importance of listening to real-world sounds for inspiration. Whether recording the streets of Los Angeles or capturing the ambiance of London, immersing oneself in different soundscapes provides a greater understanding of sonic textures.
Final Thoughts
Reflecting on Pacific Rim, Gershin saw it as one of the most rewarding projects of his career. The blend of industrial realism, creature vocalisation, and orchestral collaboration made it a unique challenge, but one he embraced wholeheartedly. “Every film is its own creature. You have to let it tell you what it wants to be,” he said.
For aspiring sound designers, he offered simple advice: “Care. Want it. Want it badly. If you love what you do and are willing to work hard, you get paid to play. And that’s the best job in the world.”
Scott Gershin’s work continues to inspire sound designers and filmmakers alike. Whether it was the colossal battles of Pacific Rim or the subtle sonic storytelling of American Beauty, his passion for sound was unmistakable. This Q&A provided an insightful look into the world of film sound design, offering valuable lessons for those looking to follow in his footsteps.