I wasn't a Bob Dylan fan until I saw the Oscar-nominated documentary "A Complete Unknown" in a McIntosh home theater with 29 channels and 14,500 watts.
Dylan turns to electric music.
A Complete Unknown is an Oscar-nominated biography that chronicles Bob Dylan's meteoric rise as an artist in the 1960s. Until I attended a private screening at the impressive McIntosh House of Sound theater, Dylan was not one of my favorite musicians. However, upon leaving, I became a huge fan of his music.
Before the screening, I had the opportunity to interview Tod Maitland, an experienced production sound mixer who was responsible for recording the entire soundtrack of A Complete Unknown, including dialogues, singing, instruments, and ambient sounds. With over 100 films under his belt, including titles like I Am Legend, Joker, and West Side Story, his expertise was evident.
The theater, spanning 11,000 square feet and decorated with luxury, features a high-quality sound system, including McIntosh amplifiers and Sonus faber speakers. With 29 channels and 16 subwoofers, it is a true paradise for audio lovers, capable of reaching 14,500 watts of power. The 4K Sony projector, a 204-inch screen, and a Kaleidescape movie player complete the audiovisual experience.
A Complete Unknown, released in December 2024 and starring Timothée Chalamet, received eight Academy Award nominations, including Best Picture, Best Actor, and Best Director. The plot encompasses Dylan's journey to fame, including his transition from acoustic folk music to electric rock, which was seen at the time as something subversive. It also addresses his complicated romantic relationships, revealing a bold character.
During the interview, I asked Maitland how he managed to make Chalamet sound like Dylan, and he told me that it was all thanks to Chalamet himself, who didn’t need to rehearse. Additionally, to give the sound an authentic 1960s feel, he used 42 vintage microphones specific to the time period depicted in the story, ensuring that each microphone was aligned with the corresponding era.
One of the biggest challenges for Maitland was that, out of approximately 40 songs Chalamet performed, there were scenes where he couldn't be in front of a microphone. Chalamet held his guitar high, so Maitland had to place a lavalier microphone in the actor's hair after negotiating with the film’s technicians.
After the interview, I attended a conversation between Maitland and David Mascioni, the marketing director of McIntosh Group, where they discussed the complex process of capturing audio in musical films. Topics such as recording instruments first, preparing actors to sing and play, and the challenges of live recording were addressed. Surprisingly, Chalamet decided that, just ten minutes before the first major scene, they would do everything live, which was possible thanks to his dedication.
Watching the film, the sound quality continued to impress me, even after my prior experience. Chalamet's performance was captivating, and the sound quality made it easy to believe I was truly watching Bob Dylan. The sounds of motorcycles, symbolizing Dylan's rising success, and the numerous concerts recreated in the film were meticulously designed, creating an immersive experience.
The sound details, such as distant conversations or the clamor of fans, were clear and precise. Throughout the performances, I found myself wanting to applaud, something I had never done while watching a movie. This transformative experience made me appreciate even more Bob Dylan's unique talent and the magic that exceptional sound can bring to cinema.
