샌드맨 몰입형 오디오 드라마 경험

### 샌드맨에 생명을 불어넣다: 오디오 드라마를 통한 여정
* 📚 "파자마 바지와 꿈만 있으면 되는 특별한 방식으로 책에 생명을 불어넣는 일은 **정말 정말 재미있고 보람찬 일**입니다."
* 🎧 오더블 오리지널인 더 샌드맨은 **DC와 함께 제작**하고 더크 맥스가 드라마화하여 **닐 게이먼의 명작**을 그대로 재현한 작품으로, 그 본질을 그대로 살렸습니다.
* 🌌 샌드맨을 각색한다는 설렘도 잠시, 제작자들은 자신들의 야심 찬 프로젝트가 **관객의 공감을 얻을 수 있을지 확신**할 수 없었기 때문에 불확실성을 안고 있었습니다.
* 🎙 성우 연기는 중요한 역할을 하며, **출연진이 함께 녹음**하여 케미스트리를 조성하고 청취자에게 몰입감 있는 경험을 선사합니다.
* 🎶 음악은 오디오 드라마의 필수 요소로, 작곡가 짐 해니건의 인상적인 스코어에서 알 수 있듯이 **내러티브와 감정적 깊이**를 한층 더 높여줍니다.
* 🌍 샌드맨의 두 번째 시리즈는 다양한 역사적이고 환상적인 배경을 야심차게 다루기 때문에 **사운드 디자인에 있어 신뢰할 수 있는 팀이 품질을 유지**해야 했습니다.
* ✨ '더 샌드맨'의 개봉은 많은 기대를 모았고, 긍정적인 반응을 통해 **각색이 만화 팬들을 존중**하고 흥미를 끌었다는 것을 확인할 수 있었습니다.
* 💖 제작자들은 지금이 오디오 드라마의 황금기라고 생각하며, **75개의 에피소드를 모두 제작**하여 상상력을 불러일으키는 사운드의 독특한 힘을 보여줄 계획입니다.

샌드맨은 사랑받는 만화를 매혹적인 오디오 드라마로 재탄생시켜 창의성과 향수를 결합합니다.

- Bringing books to life in this special sort of way that requires only pajama pants and a dream. It's really, really fun, and it's really rewarding. - [Narrator] The Sandman, an audible original, produced in association with DC, from the DC publications written by Neil Gaiman, dramatized and directed for audio by Dirk Maggs. - We're opening the door to a universe with Sandman. That was the excitement and the trepidation. Neil wrote a masterpiece; you don't start rewriting masterpieces. - I don't think we knew if this thing we were trying was going to work. And we certainly didn't know that it was gonna work as well as it did. - To even think about The Sandman all by itself. That was the only thing he had ever created. That's enough; that's on par, I think, with to keen is this entire world.

- I really believe we are living in the golden era of comic book adaptations, now in the golden era of audio drama. (suspenseful music) - [Neil] The garden of destiny of the endless, you would know it if you saw it. After all, you will wonder it until you die or beyond, for the paths along and even in death. There is no ending to them. The first thing I did was work with Dirk on the scripts. There was lots of scribbling, there were lots of notes. There was lots of stuff just to make it sound right. After that, really everything was up to Dirk. - The first job that we do, the first part of the equation, is recording the cast. And so I try and work them all together in one room, gather them so that they get eye contact with each other and they can play off of each other. That's really important. - [James] You threw the bread at me.

- [Kat] I don't believe this. Dream, you're as bad as Desire or worse. Didn't occur to you that I'd be worried silly about you? 
- [James] I didn't. 
- [Kat] Think that's exactly it. You didn't think. 
- I love voice acting. I would do it for the rest of my life. I would retire my face in two seconds. 
- For me, Kat is Death. She has just, she has got that presence. She's got that wonderful perky. What we'd say in the UK, cheeky, kind of irreverent feel to her. 
- Oh man, the story of meeting Neil Gaiman is so magical. And I think I just tweeted out to him about listening to him, talk and memorizing lines and eating sushi, something like that. And he answered and I was like, what? And that became what is now a very long, amazing friendship. 
- We appeared to have become friends.

if I was in Los Angeles, I would always have dinner with, there'd be three or four people I would always have dinner with, and Kat was always one of my friends at that table. And I think we'd always been looking for a way to work together ever since. And this is it. And for Death, I just figured she'd be great. I mean, it was one of those things where I sent her an email saying, Do you wanna do this? - Like what, okay? - [Neil] Got back lots of exclamation marks and happy faces and hearts. - Did not ask for any more details. 'cause the answer is yes, obviously - It wasn't complicated. A lot of the really good casting that we've done, we've cheated. And the way that we cheated was we just went, well, who's a fan? Who would love to do this? And I happened to know that James Macavoy boy was a fan.

- [Michael] Now, do you still wanna know what's going on? - [James] Yes. - [Michael] Isn't it obvious, dream king? - [James] No. - [Michael] I've quit. - [James] You've... I'm sorry, there is some trick here, some stratagem, some rules. - [Michael] No, I've stopped, I've resigned, I'm leaving. - Going into act one. I think my immediate concern was, are we all on the same page in terms of the characters? And James Macavoy and I had two or three talks, just going through our understanding of where the character was coming from, because Dream evolves through all the books of Sandman, but James had to nail it from the beginning in such a way that people who knew the character would feel safe with him. And act two, we have Regé-Jean Page as obvious. And it turns out that Regé-Jean Page

is not only an excellent actor and an outrageously good-looking chap, he also sings like an angel. (Regé sings in a foreign language) And I've got to say it still sends shivers up my spine. (Regé sings in a foreign language) And then having recorded the voices and edited those tapes together, we then begin to add the world that takes place around them. And what I try and do is have a feeling that the world is going on both with the minute, but also separately. So if you listen to, for example, a sound of her wings, you will hear that while Kat and James as Death and Dream are talking in the foreground, there's a soccer match going on in the background. - [Kat] Have you finished? - [James] Yes - [Kat] You could have called me. - We were much more interested in getting a result that sounded like a film soundtrack, so that when you listen to it,

you feel you are hearing something that could be a movie. It just didn't happen to have a camera in the room. The one thing we can do that movies can't do is we tend to move characters to the left and right more than they do. If you ever watch a movie at home on your TV, and you've got one of those home theater setups, you'll know that a lot of the time the voices just come out of the middle under the screen, because that's where the actors are, but we actually spread it out to left and right - [Man] Wake up sir - [Anton] Oh, I must have dozed off. - And that gives you this immersive sense because my theory for what it's worth about audio is that it is a truly visual medium, but it doesn't come in through the front door. It sneaks through the side entrances. Your imagination creates this world.

This movie that's unspooling in your head. In act one, when Rodrick Burgess receives Hathaway from the Royal museum, who's carrying the big book, the book of magic, and you can sort of hear it, the book handed over and open (pages turning) and so on, but how the book looks is up to you, what suit Burgess is wearing is up to you, how the room looks. Is it oak paneling or is it whatever? You can be your own designer, set designer. You can have the actors look just like the characters in the comic, if you want, or you can make them have any other characteristics you want. This is the beauty of the medium. It doesn't tell you what to look at, it doesn't tell you what things look like. It's up to you - [Neil] Tenderly, she takes the head out of the sack and rests it neck down on the chest.

- [Woman] Aaah - There's been a big difference between working on act one of Sam and act two. On act one, I sound-designed the whole series, all 20 episodes myself, because I wanted to be absolutely certain it sounded exactly the way I heard it in my head. And sometimes you just have to do that job yourself. You have to sort of work out the template to carry on. The second series of salmon is so insanely ambitious in terms of the reach. We go from hell to New York City, to the land in the world of dream. We go to revolutionary France. We go to Imperial Rome. We go to San Francisco in the 1860s. It's such a wide variety of things. And because we've been recording acts two and three pretty close together, I had to pass on the sound design work to a sort of trusted team. And I've got to say, it's been fantastic.

- [James] I shall see you soon, my sister, see you for one final time. - [Kat] Huh, idiot. - [Dirk] So we've recorded the actors. We've added the sound effects and the backgrounds and all the bits of Foley. Then the very last bunch in legos that have built this building of sound is the music. We spend weeks, hours, days trying to make the sound effects just right and really get everything just so, and then Jim Hannigan sends me a piece of music, and the whole thing just goes up like there's helium in the balloon. He kind of, it just underpins all the emotion and all the and the epic sweep and the hope of the characters and the despair and all of that. And Jim just does this. (suspenseful music) - So the role of music is a very interesting one in audio drama, in a sense that it not only has to support the narrative,

but it also, at times, has to tell us a little bit about the environment we're in, create a sense of scale space. And this is, it's quite distinct from scoring to picture in a film or TV or even a video game. Audio drama is much, much more reliant on sound to sound and music, to paint pictures in the mind of the listener. - I think James is an astonishing composer - Music that just carries you with it. That's Jim Hannigan, I'm just so glad we've kept him. I thought we'd lose him to a movie any minute, oh I've said it now. I delivered the final mixes on the 6th of June last year. And it was released on the 15th of July. That period of waiting were pretty filled with suspense to be honest, of course, on publication day, you do keep an eye on social media. And after the release time I was looking online.

and of course, nobody's posted anything 'cause it takes 11 hours to listen to everyone. And then finally, people started reacting, and it was just the biggest load off to know that we had brought it to life in a way that was totally respectful, totally accurate to the comics. And people felt, sounded like the characters in their mind's ear. - [Neil] We've got a lovely review here from Charlie, but he wrote, This reminds me of the old radio plays, but done to absolute perfection. Dirk and I are both children of radio drama. We both appreciate it. We both love the history of it. We both know that comics have been audio dramas as long as there have been comics, pretty much. It is the most fluid, easy, remarkably delightful method of creating drama that there is. It's occurring in real time, you're feeling actors, you're feeling emotion, but you are doing all the work in your head.

- I think this is our time. I think we're proving this is a brilliant medium, and in no way is it on its last legs. We're just beginning to move forwards now. - And the knowledge that we are gonna be able to do all 75 episodes, that we're gonna be able to do the stuff that I did after, that for me is the enormous innovation. There hasn't been anything like this, and we're getting it out there. - Thanks so much for watching. Do please go to Audible and listen to The Sandman. It's made just for you, handcrafted by craftspeople of the finest magnitude. And also, it was a labor of love, and it's really, really good. So please do go to Audible, do listen to The Sandman, and do tune into this channel for more information. - Thank you for watching.

The Making Of The Sandman: Act II | Only on Audible

Audible

샌드맨의 제작 과정: 오디오 드라마

오디블 오리지널인 샌드맨은 닐 게이먼의 명작을 극적으로 각색한 작품으로, 더크 맥스가 감독을 맡았습니다.

제작 과정에서는 출연진과의 긴밀한 협업을 통해 눈맞춤과 상호작용을 강조했습니다.

이 프로젝트를 통해 닐 게이먼과 성우 중 한 명은 마법 같은 우정을 쌓으며 작품의 보람을 보여주었습니다.

친구와 공동 작업하기 캐스팅의 여정

연사들은 로스앤젤레스에서 캣과 친밀한 저녁 식사 모임을 가졌고, 이 모임은 두 사람의 협업으로 이어졌습니다.

캐스팅 과정에는 제임스 마카보이와 레제-장 페이지가 주요 배우로서 팬들에게 다가가는 과정이 포함되었습니다.

제작진은 영화 사운드트랙의 느낌을 살리기 위해 캐릭터 대사와 배경 사운드를 혼합하여 제작했습니다.

오디오 스토리텔링은 캐릭터의 목소리를 왼쪽에서 오른쪽으로 퍼뜨려 청취자의 상상력으로 세계를 디자인할 수 있도록 함으로써 몰입감 있는 경험을 만들어냅니다.

이 매체의 장점은 청중이 캐릭터와 설정을 창의적으로 제어할 수 있다는 점입니다.

사운드 디자이너의 역할이 매우 중요한데, 1막은 제작자의 비전에 맞게 직접 제작되었으며, 야심찬 2막은 스토리의 범위를 확장하고 신뢰할 수 있는 팀의 지원을 받고 있습니다.

오디오 드라마에서 음악의 역할

음악은 오디오 드라마에서 중요한 역할을 하며 감정과 내러티브를 뒷받침하는 동시에 스케일과 환경을 조성합니다.

짐 해니건의 작곡은 강력한 영향력을 발휘하여 청취자를 스토리에 몰입하게 합니다.

믹스를 마무리하고 출시를 기다리는 과정은 긴장감으로 가득했고, 팀은 소셜 미디어를 면밀히 모니터링하며 피드백을 받았습니다.

오디오 드라마가 스토리텔링에 미치는 영향

만화를 오디오로 각색한 이 작품은 청취자들이 캐릭터에 대한 존중과 정확한 묘사를 높이 평가하는 등 긍정적인 반응을 얻고 있습니다.

제작자인 더크와 닐은 라디오 드라마에 대한 열정을 공유하고 있으며 몰입도 높은 스토리텔링을 만들어내는 라디오 드라마의 힘을 믿습니다.

이들은 75개의 에피소드를 모두 제작하게 되어 매우 기쁘게 생각하며, 이 매체의 독특한 혁신이라고 생각합니다.