In the first episode of Microsoft’s new film series “On the Whiteboard,” Editor Pamela Woon chats with two-time Oscar winner Randy Thom about the (often underestimated) importance of sound in human-technology interactions.

Thanks to The Audio Spotlight for highlighting this 25-minute video interview with Hans Zimmer on the ‘Man Of Steel’ score:

CNN has an interview up with composer Hans Zimmer, on his score for ‘Man of Steel’ which premieres today around the world:

The secrecy surrounding “Man of Steel,” due June 14, is pretty extraordinary, but composer Hans Zimmer was able to give CNN a glimpse of what to expect when we caught up with him this week regarding the score he did for “The Bible.”
 
Asked if the two projects had anything in common, since both involve a savior figure (Jesus, Kal-el) sent by his father to Earth, Zimmer laughed and said, “Yes. Yes is the answer. Once you see Superman, you’ll see how close you are with your question.”
 
“Both stories are passions,” Zimmer continued, “about a struggle to do the right thing. For Superman, it was a really simple question for me. What does it take to become a good man? To be good? And what does that mean in our more and more complex society? Do any of these values still resonate with us?”

Read the fulll interview with Hans Zimmer on the score for ‘Man Of Steel’ here.

The ‘Classic Winnie The Pooh’ storybook is published by Egmont, a leading media house with more than 6,500 employees in 30 countries.

We composed a range of original music tracks for each story, and created sound effects to supplement the classic illustrations.

The storybook is out now, and you can get the first chapter for free here!

More details on the Erik Bauersfeld interview here.

DS: What were you asked to bring to the project? Did they have any ideas that wanted to see you work on? Was there anything that you wanted to bring to the film?
 
JP: Well one of the things I talked to Rian [Johnson] about early on was this concept that I’ve been working with: things evolve within a scene. Just because you have a background track doesn’t mean that it stays the same for the entire time you’re in that scene. Things are constantly changing depending on either the mood of the scene, or the kind of texture that you’re trying to help out with. It’s a slightly musical idea and not necessarily obvious. In reading the script, there was a lot of opportunity for that, especially in all of the different types of locations we’re in…in the cities, or the farm area with all the bugs and different wind and tress…that kind of stuff. That’s one of the things I really wanted to bring to it.

Read the full interview on the sound for Looper here.

- and check out the trailer for the movie below:

(via @SumthingDigital)

(via @designingsound)

The game is available for free for desktop browsers and mobiles and gives players a feel for what it takes to run your own haulage company.

You can play Cargo Dynasty for free here.