The Bee Gees: How Can You Mend a Broken Heart relied on a huge amount of archival footage, including performances of Barry, Robin and Maurice Gibb that span decades. “They run the gamut from film transfers to camcorder stuff,” says supervising sound editor Jonathan Greber. “Most of it pretty bad fidelity, some of it really bad, with noise layers on top of it.”
The goal was to not only restore the archival material but also keep the sound authentic. “What I tried to do is keep it sounding like it really sounds,” he says. “If it’s going to be bad-sounding archival, let’s admit that it’s bad-sounding archival and live with it. If we can clean it up a little bit without changing it, let’s do that. There’s just a whole bunch of challenges with just making [the audio] not distracting — and most importantly, tell the story. That’s a constant juggling job with archival audio on all of these kinds of docs, especially in this one.”
Greber adds that the sound editing team worked with stereo masters of the band’s songs, as well as with some stems (multiple tracks that made up a song). Rerecording mixers Gary Rizzo (an Oscar winner for Dunkirk and Inception) and Jeff King did the final mix. “We’re not interested in changing the Bee Gees’ sound,” Greber emphasizes. “We want to honor them, and we want to make it sound as close to what the filmmakers wanted as possible.”
Sound effects editor Pascal Garneau notes that creating authentic crowds in the concert scenes required delicate work. “In archival footage, the crowds are usually mono or stereo, and it’s just whatever’s bleeding into the vocal mics in some cases,” he says, adding that he was tasked with creating the crowds for each specific performance. “I have crowds in the background, crowds all around you. There’s some songs where the audience is clapping along to the beat. So I had to manufacture the sound of thousands of people clapping in sync.”
Much of this involved use of library material. “At Skywalker Sound, we have a huge sound effects library of sounds that have been recorded since Star Wars, and we have the commercially available libraries as well. I also have my own private collection; I’m always out recording wherever I go.” Still, this project presented its particular challenges. “Recording a rock concert audience, it’s really tough to get just the crowd without the music and everything else.”
Garneau also re-created the sound of the 1979 Disco Demolition Night event in Chicago, where backlash against disco prompted a riot. “The hard part about cutting that kind of crowd stuff is having it not sound phony — where they’re angry but not saying specific things that sound wrong.” The film cuts between the Chicago incident and a Bee Gees concert at the Oakland Coliseum where “they introduce Andy Gibb for the first time and are reaching this fever pitch of success,” says Garneau, noting the irony. “Meanwhile, the culture is changing, in real time, where there’s this backlash against disco.”
This story first appeared in a August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
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