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Kitley’s Krypt: How did you get started in composing music for films?

Michael Wandmacher: Film scoring in particular, I guess the easy route would be saying that when I was back in Minneapolis in the early ’90s, I had a gotten out of college and was working for a couple of advertising firms. At this time I started moonlighting doing television commercials. After a couple of years of that schedule, I got an opportunity to do the television commercials full time. I took that and started kind of learning my craft that way, which lead to working on some local short films and features.
Through that, I met some people in Los Angeles and networked while the time I was out there, exchanging tapes and things back and forth. That eventually led to a relationship with Miramax, doing some of their Jackie Chan re-releases. I did some direct-to-video versions of those. Then Twin Dragons came up, which they were going to put out theatrically. I was basically told, “We’d love to have you do it, but if you want to do it you’d have to move out to Los Angeles.” So I figured that was the perfect time, since I’d have a job waiting for me when I got there. That was almost 10 years ago and I’ve been here ever since.

KK: Have you always been a big fan of movies?

MW: Yes. I just found the more I did the job the more I found it really appealing. From when I was younger, I use to really take notice of the music in the films that I was watching and collect film scores. Even when I was a young kid would go to record stores, where everyone was hanging out in the rock section and I’d be sitting around trying to find soundtracks. Collecting those and listening to them and that’s kind of stayed with me every since. I probably have over a thousand scores here, and I’m always listening to things that people send me, or stuff from my collection. So I’d definitely say that I was a fan first before I actually started doing it for a living.

KK: What would be some of your favorite film scores?

MW: That’s tough to say. I kind of go in phases, so it depends on what I’m listening to. I really like Jerry Goldsmith. I like a lot of classic musical scores by Bernard Herrmann, and Alex North and Hans Salter. Also Akira Ifukube. I love what he did with the Godzilla films. I think that music was actually wonderful. I listened to Jerry Fielding and Dominic Frontiere when I was younger. And as I got more into doing it professionally, I was really influenced by Danny Elfman and James Newton Howard and Alan Silvestri. People like that, who were really kind of masters of working with a theme, building into a score and also have a really specific voice or vision in their music. I still go back to that stuff and listen to it. There’s still a real spark in that music when I listen to it. Some of the early work by those composers I mentioned. It’s inspiring.

KK: Are there any horror movie scores that really stood out for you?

MW: I really liked The Omen. I thought that was pretty awesome score. I loved the old Universal scores. A lot of those came out of the studio systems so in a lot of cases the composer was un-credited. Because the way the music system was set up in the studios at the time, in the ’40s and ’50s, there was just a head of a music department that just doled out work to various people who worked underneath him or her. He might have been an orchestrator or composer or something like that. So when you see a movie like The Wolf Man, which has a score that I love, Hans Salter did most of that. But you’d actually have to track [people] down to figure out who wrote most of the music. I love Harry Manfredini’s work. There’s a certain amount of mayhem in those scores. Halloween. I like John Carpenter’s music for its simplicity. Stuff like that. I listen to a lot of it. Little bits and pieces of what I hear stick with me. I could never go, “This score was THE score that changed everything for me.” But things, motifs or themes or devices, or ideas that came out of it that are really interesting to me.

KK: While doing some research for this interview, we came across a film score review website where they couldn’t understand how people could enjoy listening to horror soundtracks, since they are not your traditional music scores.

MW: Horror scores get a bad rap because they’re not a traditionally melodically driven. They might have something like a really strong central point. Halloween is a really good example. That little riff on the piano drives the whole score. But for the most part, they’re a lot of noise – what you would call “orchestral noise” – and they can be very loud and very grating. For some people it’s just tough to listen to, certainly not relaxing to by any means. It can be anxiety inducing. Especially modern horror scores where a lot of electronics or highly processed samples are used that purist would consider non-musical. Yeah, from a reviewer standpoint, some of them don’t even think of it as music. Which is ridiculous. I’ve always had a problem with reviewers who are orchestra snobs and can’t see electronic music for what it is. It’s very difficult to produce, and to find a sound or a palette of sonic textures that work for the film is really tough. It takes just as much care to do that as it does to write an orchestral score. Sometimes orchestral elements don’t work in the context of the film, and vice versa, there are films where an electronics don’t work either. It’s just a battle you fight with each movie. I just wish more people who are critiquing the scores would do their homework and understand just how difficult to produce a proper electronic score. Programming is an art and a craft as much as composing for acoustic instruments.

KK: That’s a great point. Speaking of which, your score for Cry Wolf, that was electronic, correct?

MW: Yes.

KK: That is one of my favorite scores. I was watching the movie, which I thought was okay. But the whole time, I kept noticing the music. It’s not your typical suspense type of music, since it was very quiet and low key. But it still seemed to build the suspense just as well.

MW: That was an interesting approach. We had some time to work on that. There was very little resource to work with on that movie. The only thing that we had was time. So it was a very collaborative thing between me and the director, Jeff Wadlow, and the producer and the editor, to come up with the palette for that movie. I’d write a cue, we’d pick out things that we liked and throw out things that we didn’t, then come back with another version until it was very a refined set of ideas for that score.
The peculiar thing about it was taking the approach of everything coming from the inside of the characters musically, as opposed as the outside. There was very little music that was what we call “externalized music,” where it was just kind of heightening the entire scene, what you’re looking at. There’s a scene where Owen is running out of a church across campus and he sees another murder take place right in front of his eyes. That’s a very external type of cue. It’s really big and it’s really driving. It doesn’t really necessarily speak to anybody or anything in the scene. It’s just there to heighten the intensity. And that’s fine. But most of it was trying to musically express what was going on inside any particular character’s head, particularly Owen’s head in any given situation.
As the film came to a climax, I was focusing more on what his psychological and emotional reaction were to the situation at hand, and expressing that musically as opposed to just using a lot of loud banging crescendos and big orchestral effects. That works really well in a lot of horror films. But in this one, by the way it was shot and the resources we had, we had to kind of go down a different road, and that’s what ended up coming out.

KK: It’s very effective in the film and as I said, it’s one of our favorite scores. Granted it was a little tough to find, but once we did find it, we reviewed it on our site and have always mentioned that to people who enjoy soundtracks.

MW: Thanks. I’m glad. I’m proud of it. It was a fun effort. It took time and was very collaborative. Just really experimental. We didn’t really have any preconception of about what the score was needed to be. It just kind of evolved on its own until we knew it was in the right place.

KK: How much time to you normally have to complete a score?

MW: It’s funny you ask because it keeps getting shorter. For My Bloody Valentine I had to do in 28 days and that was 105 minutes of music. The Punisher was 65 minutes and I had to write it all in three and a half weeks. It’s just getting very compressed these days. A picture never gets locked rarely by the time the composer sees it. It’s always in flux. So you have to pick your battles in terms of when you want to actually start composing as to how much you feel like the picture is going to change. All the picture elements are digital now so they can change it very, very easily, and that compresses your schedule greatly. Massive picture changes can take place just weeks before a final sound mix and that deeply affects the music. So you just pick your battles, like, “Do I start writing this really big cue now and think that it might change a lot in the next week, or do I wait and see what they come up with?” I would say an average film score now is between four and six weeks to get the whole thing done. It used to be more like eight to ten weeks, but it keeps getting more and more squished. I know plenty of times people have had to write scores in ten or fifteen days and just get it done. If they have the resources, that’s fine. It’s a very expensive way to approach it. But that’s just sometimes the way it works. On average, you can bet about on a month, maybe a little more.

KK: I’m assuming the shorter time nowadays might have something to do with the ease of digital edition these days then back in the old days of using film stock?

MW: Yes, because it’s not as expensive to do it as it used to be. If you were cutting film and you had locked your picture and you wanted to go back and make a change, there was a gigantic process involved. You know, handling the film, going back and re-splicing, and outputting it and all that. It was a pretty major operation. Nowadays, everything just stays in Final Cut Pro, Avid Media Composer, or whatever the editor happens to be using. And they’re changing it daily. They might have a whole team of editors. They do preview screenings, and changes get made based on those. Then once executives high up in the production company see the film, they may want a major story element changed. Just have to learn to roll with it. There’s really nothing you can do. You never really see a locked picture anymore. It’s very rare, but when the locked date comes, that actually happens.

KK: Do you think the difference in budget has to do with how many changes might be made?

MW: Definitely. Big budget films, ones where there’s a lot of risk involved, in terms of the financial investment of the studio and the return that it needs for that investment, they will be cutting that picture down to the very, very, very last minute. At that point, you may have scored the entire film, and it’s the music editor’s responsibility to take the finished cues and edit them into a way that still musical for the newly cut film, that still maintains the integrity of the cues. That becomes a very collaborative process between the composer and the music editor. These are all realistic and everyday sort of things now when you’re dealing with films in the studio system.
For independent films, they are much more schedule-driven in order to keep their budgets in line. They allot a very specific amount of time to do their cutting. They say, “Here’s our lock date, so we have to be done by then.” They assign a very specific of days to getting their mix done. The only way could change is if at some point in the post process, a distributor or studio gets involved and wants something changed in the film. Then they’ll go back and do it. But then at that point the studio will bump in some money to make that happen. It’s tough. You have to learn to just roll with it, and that’s as much of an art as anything else. It can be really stressful to write a huge chase cue or something like that that goes on for 5 to 8 minutes, and can take a day or two to write, and then have someone come back and just gut it. Suddenly this 8-minute scene becomes a 3 ½ minute scene, and you have to make the same musical idea work

KK: That’s got to be sort of depressing.

MW: It’s not that it’s depressing…it’s daunting! It’s part of the job. I never complain about my job. I love my job. These are all high quality problems to me. You just learn to deal with it. But yeah, it’s one of those situations where the picture comes back and everything been moved around and you look at it and think, “Oh man!” You just have to go back and make it work. The only upside is that you’ve already created all the pieces, you have all the tools to make it work, you just have to go back and rearrange them.

KK: Describe your process. Do you watch the film a couple of times first or how does that work?

MW: I’ll usually watch the whole film two or three times. I’ll have the whole thing plotted out on paper. The music editor and I put together a cue sheet, and we just go piece of music by piece of music through the whole film in chronological order. Then I’ll sit down at that point and watch one reel of the film. I like to complete the film one reel at a time. Some times it’s linear, sometimes it isn’t. Then I just turn it off. I don’t look at it. I figure it’s printed in my head. I’ll map out the cue in the computer when I’m working on it, in terms of really critical hit points. At that point, I turn off the picture and start to just take the smallest idea, either melodically or rhythmically, and turn it over and over and keep adding elements to it until it evolves into something that sounds interesting.
Once I feel like it’s gotten far enough along, then I’ll turn the picture back on and start looking at it for pace and timing. Then those two sides of creative processes come together. And that’s how the cue gets made. It’s just a slow and non-scientific way of doing it. The first few cues are like pulling teeth, because you’re trying to figure out what the sound of the film is going to be, what the themes are, what the general tone and atmosphere of it is going to be. But once you get that nailed, it starts to going faster and faster and faster because you have the well that you’re drawing from.
I’m really disciplined about how I do my work. I don’t do all-nighters, if I can possibly avoid them. I don’t procrastinate. I set up a very specific schedule of minutes per day and say, “Today I need to get ‘X’ done, and soon as I have ‘X’, I’m done for the day.” If I start in the morning, I may go until 6 o’clock at night and I’ll be done or I may go until 4 in the morning and be done. But it’s extremely rare that I’m up against it unless something drastic schedule-wise happens. I’ve taken years to figure that out. Just to be very methodical and straightforward about the schedule. I do not like to put things off. I try to get into them into immediately.

KK: Do you get a lot of input from directors and producers?

MW: Sure. All the time!

KK: Good or bad?

MW: Both. A lot of directors are, and they’ll admit this themselves, in fact they usually admit this very early on, but they don’t have a musical vocabulary. They just tell you what they like or what they don’t like. They speak through emotional context very often. Or they speak in a visual emotional context, and you have to learn to translate that. It’s not your job to be a music teacher for them. It’s your job to listen to what they’re saying and say, “Okay I get that,” and try to augment their questions with your own questions to make sure you’re getting it right, and then take what they said and make that happen. You become the translator of their ideas into music.
When you get cues done, they’ll usually look at an entire reel, or two or three cues at a time. Especially if there are thematic cues, they might only look at a couple until the theme is just right. It may be a situation where he or she will say, “Love it except for that one thing. Get rid of that one thing and it’s great.” Or, “Can you change the instrument that’s playing this melody,” or something like that.
Other times it’s, “Ahh…I don’t think it’s quite there. I think you need to go back to the drawing board and start over.” It may not be in those kinds of words, but it just depends on the person. Every composer, including myself, has had entire sequences just thrown out and gone back to the drawing board. Then there’s other times where you hit it on the first try. It does get easier as the film goes along because you figure out what the person likes and didn’t like.

KK: You’ve worked on films in just about every different genre. Any personable favorite genre you like to work on?

MW: I like doing horror films and I like doing action films. Anything that’s highly genre based, I really liked. Anything that has to do with science fiction, aliens, droids, monsters, things of the night, fantasy, sword and sorcery kind of stuff. That’s what I grew up watching, and that’s where I feel comfortable.
I love animation because I also watched cartoons a lot as a kid. I still go to about every animated movie I can see. I still watch a lot of anime. I love doing that. Generally these genres allow you to really explore things musically, either from an electronic standpoint or from an acoustic standpoint, to really stretch out and see what’s possible. Those types of genres allow you to try a lot of stuff that you couldn’t necessarily get away with in a romantic comedy.

KK: We’ve heard basically that same thing from film directors as well, where you can do a lot of things and try a lot of things in the horror genre that you wouldn’t be able to get away with in the so-called “normal” genres. So it’s nice to hear from fan that enjoys working the genre that most studios consider to be the red-headed step child.

MW: Oh, it’s a blast. I wouldn’t want it any other way. There are devices and clichés and stereotypes and every other work you can use like that in every genre of film. But I think in horror and science fiction in particularly, you can get away with a lot of stuff that you can’t get away with anywhere else. I mean you could go out in your garage and just record yourself banging on pieces of junk for three hours. Then throw it into Pro Tools and mess with it and make that into a score that’s interesting and will work in the film. Will that work in a mainstream comedy? No. But you could probably make it work in a sci-fi film and have it be pretty cool. It’s just a different way of looking of things. It opens of this whole realm of possibilities that wasn’t there before.

KK: Great point. Do you find it any harder scoring an action-based scene compared to something that might be slower and suspenseful?

MW: It depends on if you have the palette developed. Action scenes are by their very nature more work. Because there are a lot of time things that you have to be very wary of. Let’s just use a car chase as a simple illustration. You have to be aware of when things are going from seeing the car speeding down the road and it’s a very wide helicopter type shot to all of a sudden they’ll go into the car and there will be dialogue. Then they cut ahead to a car coming around the corner, and the chase kind of reaches a new level of intensity and it might cut back to kind of a B-plotline or different character in a different location somehow involved in the car chase. There are all these dynamic levels that you have to be aware of. There’s a lot of pace. All of this is cut in a very jilted sort of way. So you may be cruising through some part of the scene and all of sudden it’ll cut away somewhere else for two seconds. It’ll be a completely different context, maybe go from an explosion straight to dialogue. So you have to be constantly changing the music and its dynamic level and density to match all this stuff. Just solving the puzzle that way, musically, is very intense as a process.
A fight scene is tough that way too. Because there’s a thousand different ways you can do a fight scene. There’s so much happening on screen that can change up the dynamic and the intensity of the fight and the music has to roll with that. It’s a maze you kind of have to navigate.
Whereas during a suspense scene, you have to look at where the natural ramp is in the scene and what you’re trying to lead the audience into feeling (or not feeling) in order to create a scare that’s really effective. When someone is creeping through a house, I find that some composers over-compose those types of scenes, like there’s too much going on. So the music actually pulls you out of the movie. There’s nothing scarier than being alone in the house at night when the power’s out. You’ve got no weapon. You’re flashlight doesn’t work. You’re completely vulnerable. That’s really scary. It doesn’t matter if you’re a guy, if you’re a woman; if you’re old or if you’re young…it’s creepy! And the house becomes the character in of itself. So to let the sound play that environment, it’s really scary. The silence. The creaking. The little sounds you hear, the squeaks, the rattles, and to have the music verbalize out of that in key moments I think is far more suspenseful. Then when the killer finally appears or whatever happens, then everything kicks into high gear. I’m a really big fan of that. It seems to be much more effective on a scare level. You can get more mileage out of a scene. But in terms of just sheer work, of notes on the page, actions scenes always a lot more work. You just have a wider palette that you have to deal with. There’s lots more percussions. If you have an orchestra, you’re utilizing the entire orchestra and lots of rhythmic stuff. It’s a lot of work.

KK: You also did the score for the new Night Stalker series. How does scoring a weekly series compare to a feature film?

MW: Speed is the main thing. Television composers get a bad rap. They are underappreciated. I guess you don’t really learn that until you write music for television. You have to work really, really fast. You will usually get a show on Monday and it’ll be mixed and ready for air by Friday. And in the case of an hour-long drama, you maybe are writing 35 minutes of music in something like three days or less. And you have to do that on a weekly basis for 22 to 26 weeks straight. It’s tough. So your preparation is really, really critical in terms of what you’re going to use for your motifs or your themes, or your palette in terms of your sounds.
On The Night Stalker, we had a extra time in the first two episodes to figure out what I was going to use sonically to pull off the sounds for the show, in terms of the types of rhythm and the percussion type sounds that I was going to use, what elements of the orchestra and what electronics I was going to use just to make the show feel coherent. With each episode there were usually one or two instruments that were introduced that were particular to that plotline. But without setting up that palette and limiting your choices to get the music done, there’s just too high volume of work to monkey with it every week. You can’t. You don’t have that luxury. Whereas in film, you have an opportunity to go around on stuff a few times and look at this single piece of storytelling as a whole and try to give it a little more coherent thought line. Television is a little more assembly-line by its nature, but it has to be because you’re on such a tight schedule.

KK: That has to be very chaotic, especially if the series is an ongoing series.

MW: Yes, but it’s also pretty common after a couple seasons that people start taking ideas and recycling them, rearranging old cues, using old cues from old episodes over again. Law and Order is a good example. If you listen to the big monologue at the end the music is pretty much the same. To me it’s planned that way. It’s supposed to be that way. It’s an efficiency that they built into the show so they can get it done. But it gets easier over time. Especially when you’ve amassed monstrous library of music that you can draw from to either reuse something or take an idea from an earlier episode or earlier season and use the skeleton of that to create something new. So you’re not just using what I call a blank page every time. After three or four seasons of that you’d go insane from the pressure.

KK: Let’s talk about your latest project, the new remake of My Bloody Valentine 3-D. Did you have a chance to see in the 3-D format?

MW: Yes, I did just last week for the first time. It was quite a trip. It was really exciting. I had seen a lot of 3-D films when I was younger, like Friday the 13^th Part 3, Jaws 3-D, those pretty schlocky ones, as well the older ones from the ’50s and ’60s that used what’s called the anaglyph technology, which is the red and blue glasses. That’s gone for the most part. It’s still used on some level in smaller movie theaters that can only project that type of film. And they still use anaglyph technology on DVDs that are released in 3-D.
But the Real-D technology that is being used in My Bloody Valentine is the same technology that is being used in Avatar, which is James Cameron’s film that is coming out later this year. It’s a whole new level of detail and it becomes a player within the movie. It’s not a gimmick. Every single frame of My Bloody Valentine is in 3-D – the whole movie. It becomes part of the film that you’re watching and you get immersed into the environment. Patrick Lussier, the director, made an extended effort to go through the film over and over and over, from a QC standpoint, to make sure that every single frame was properly aligned and properly converged so when watching the movie it feels very effortless and non-fatiguing. It doesn’t give you a headache, doesn’t feel gimmicky. There are a couple of classic types of 3-D effects where things get right up there in your face, but not as often as you might think. It’s all very tastefully done.
I think horror, more than any other genre, could benefit from this technology. It heightens the whole experience. It makes everything bigger and scarier and more intense. And more fun! The whole movie is just a whole lot of fun. The movie delivers on every level. It’s a fantastic movie, and I’m not saying that just because I worked on it. I’m saying it as a horror fan; I feel it’s a very satisfying film. It has a lot of good humor, a lot of good gore, a lot of good action, characters are interesting, there’s a whole murder mystery going on….it’s a lot of fun.

KK: We had just gotten the score for the film a couple of days ago, so we’ve only had a chance to listen to it a couple of times. From the music, it seems like the film is very action packed.

MW: It is. I like to say that it starts on furious and ends on insane. It’s like a roller coaster ride from the beginning to the end. You are into it right away. There’s no screwing around. The story just goes like hell all the way to the end. For the last 20 minutes, you’ll hold your breath the whole way. And it was conceived that way. You’re really kind of into it with the characters. If you’ve seen the original, it’s pretty true to the whole Harry Warden mythology, the killer miner, who’s a great bad guy. The whole film harkens back to the classic slasher films of the ’70s and the ’80s, where it’s over stylized, it’s very to the point, pun intended, in terms of the action sequences and the what’s known in the industry as “the kill.” When you see the bad guy come on screen, you know somebody’s going to get it. There’s no overly pretty shots or any torture scenes or any of that extended kind of grit like we’ve seen in horror films in the past five years. That’s all thrown out in favor of just good old-fashioned “bad guy chasing someone through the woods and you’re dead.”

KK: It does sound very interesting and we are really looking forward to it.

MW: It’s a great movie. I have very high hopes for it. I think it’s going to take off when people get wind of it. The 3-D part of it really makes a big difference because it was handled in a very serious way as part of the film. It wasn’t intended to be a schlock thing or a gimmick. It’s very critical to how the story is told and just the whole experience of the film is utilized in the way that it brings the whole film to another level. All of the mine sequences were shot in a real mine – they’re not sets. During those sequences, the killer will be right up in your face, and you’ll see behind him this mine shaft that snaking off into oblivion. And it’s a real mine shaft. These shots have an immense depth of feel. That kind of stuff just makes it more fun and more scary.

KK: We definitely need a good remake. So it will be nice to see a good one for a change.

MW: I feel like this movie is going to move horror movies in a different direction, like more they were when I was growing up. Which is more fun and wasn’t so grim and hopeless like a lot of horror movies have been lately.

KK: So even though we hate to be asked this question ourselves, what are some of your favorite horror movies?

MW: I’ve always been a big werewolf fan. I love The Howling. I love American Werewolf in London. I can watch those movies over and over and over. I love the original Friday the 13^th. I think of the classic horror films like The Devil’s Rain and I Spit on Your Grave, which is pretty hardcore.

KK: Devil’s Rain showed me just how scary Ernest Borgnine could be.

MW: Yes, this is very true. And just how campy William Shatner could be.

KK: Well, we knew that from Star Trek.

MW: Yes, but he goes one level beyond that in that movie. Still great. I like watching the old Universal films. I just watched The Day The Earth Stood Still the other day, which to me is kind of horror and sci-fi all blended together. I actually grew up watching a lot of Japanese monster movies. I think the original genre experience I had, the first scary thing I saw, was the pilot episode of the original Night Stalker. That was probably my first straight-up scary monster movie type of experience – that’s what started it all. So it was kind of fitting to come back and work on that as an adult. I’ll pretty much watch everything. I love John Carpenter’s movies. I loved his version of The Thing. He was on a roll during that part of his career.

KK: One last question for you. You mentioned being a big werewolf fan and liking American Werewolf and The Howling. Usually there’s the American Werewolf fans side and Howling fans side. Which side would you fall on?

MW: Boy that’s tough. I’d have to go with American Werewolf overall because of the humor. I am always amazed at, that movie in particular, how John Landis was able go from humor to horror, real funny stuff to really scary stuff, on the turn of a dime. It all flowed together really well. It didn’t feel campy at all. The stuff at the apartment that David goes through right before going through his first transformation, while that CCR song is playing, is really funny stuff, but it’s really tense at the same time. One of my favorite sequences in that movie is when they are in the Slaughtered Lamb, just before they walk out and get attacked that first time. That whole scene is very comic in the way it’s put together, but it’s also very scary. That film blended that together really, really well. I think The Howling had better attack stuff. It was extra creepy because people got attacked during the day.

KK: They weren’t the traditional kind.

MW: Right. That made it a lot scarier. It was kind of like seeing the new Dawn of the Dead when all of the zombies could run. That changed the playing field entirely.

KK: Although they were running in Return of Living Dead back in 1985.

MW: Yea, but not like the modern ones where they are like these crazed Olympian winners with all this goo flying from their mouth on a death mission. It was like, “Oh my God…I didn’t go to the gym today. I’m screwed.” That’s what I felt when I was watching that.

KK: Thank you Michael for taking the time to talk with us. It’s always nice to hear from someone who not only has worked in the horror genre, but also is a fan themselves. Any last comment?

MW: As a horror fan, my recommendation when you see My Bloody Valentine, if you can go to the biggest theater you can, and sit in the front third of the theater. That will enhance the 3-D experience even further. The bigger the better. And you get the best convergence when you’re a little closer to a really big screen so the effects make the WOW factor goes up. It will make a difference.

KK: Thanks again.

MW: You’re very welcome.

For more information about Michael Wandmacher and his work, you can check out his website HERE.