The fifth season of FX's Fargo is set in Minnesota and North Dakota in 2019. The show received multiple Emmy nominations, including one for "Outstanding Sound Mixing For A Limited Or Anthology Series Or Movie." Re-recording mixer Martin Lee (pictured) is part of the sound team that also includes re-recording mixer Kirk Lynds, CAS, production mixer Michael Playfair, CAS, and scoring mixer Michael Perfitt. Here, in an interview that first appeared on ProductionHUB, Lee shares details on the show's soundtrack and the excitement behind his nomination.
Hi Martin! Congratulations on the Emmy nomination.
"It doesn’t get any better. The Emmys are the crowning jewel of television production. There’s a lot of good programming out there, with a lot of good work being done right now, and to be honored by that group of people — people doing that work, who select who gets nominated — is a real honor. It really means a lot, both personally and professionally. You can’t separate those two things at this point, I think."
How do the re-recording mixers collaborate to ensure a cohesive and seamless sound mix for a complex series like Fargo?
"Kirk and I have been working together for a long time. We know each other very well. Really, we’re just working to support the storytelling. That’s how you know you’re doing your job well.
“We know each other’s sensibilities and have a good sense of what the other person needs in particular moments in terms of support. We have a very open environment in terms of dialogue, where we don’t take anything personally. We’re able to work together and talk about things to figure out what has to happen. We also get a bit of pre-mixing time to go through our material on our own, but most of the time, we’re in the room together, letting the mix evolve as it evolves.”
Fargo is known for its intricate storytelling and rich character development. How do you approach sound mixing to enhance these elements and support the narrative?
“Fargo has its own world and tone. We’re always trying to think about what Fargo would do. It’s a way of thinking where we’re trying to tell the story, but we’re also in this kind of Fargo world with its own unique intricacies. We’re always looking for those types of moments that we can use to help tell the story and support character development.”
The atmosphere in Fargo is crucial to its tone. Can you describe some of the techniques you use to create and maintain the unique soundscape of the show?
“One moment that comes to mind is during the gas station conflict scene. Our hero encounters who we believe is the bad guy. There’s a scene where he shoots out the front glass wall of the gas station and walks through, and we really focused on the glass crunching under his feet. That’s a very Fargo thing, to pick one sound and really emphasize it while keeping it realistic.
“Another example is from Barton Fink, where they focus on the sound of an ashtray spinning on a table. We do something similar in Fargo, where we pick specific sounds and draw attention to them.”
With a mix of dialogue, music, and sound effects, how do you strike the right balance to ensure clarity and impact without overwhelming the audience?
“Mixing is all about balancing those elements together. For instance, in the scene I mentioned earlier, we focused on the glass crunching under the character’s feet. It’s about drawing attention to specific sounds while keeping the overall mix balanced and impactful.”
Are there any specific sounds or scenes from this season of Fargo that were particularly challenging or rewarding to mix? Can you share the process behind them?
“Character sounds are a big part of it. For example, the sound of spurs on a boot for a sheriff character. We didn’t use anything particularly unusual, but we always try to find the right sound that fits the character and the scene perfectly.”
Silence can be just as powerful as sound. How do you use silence or minimal sound to build tension and enhance dramatic moments in Fargo?
”We use silence in Fargo to create tension and build dramatic moments. Often, silence is used to underscore the tension in a scene, particularly when something significant is about to happen. By stripping away sound, we can focus on the character's reactions and the emotional weight of the moment. The absence of sound can make the eventual sound or action more impactful. We also use minimal sound to highlight the isolation of characters and the bleak, often desolate, environments they inhabit. This approach helps to amplify the drama and the intensity of the situations they face.”
Have there been any new tools or technologies in sound mixing that you’ve found particularly useful while working on Fargo?
“Yes, we've incorporated several new tools and technologies into our sound mixing process for Fargo. One particularly useful tool has been advanced audio editing software that offers more precise control over sound elements. This allows us to fine-tune the audio layers more effectively and achieve a more nuanced sound design. Additionally, new digital plug-ins have enhanced our ability to create and manipulate atmospheric sounds, which are crucial for building the film's unique auditory landscape. These tools help us maintain the high-quality sound design that Fargo is known for and allow us to explore new creative possibilities.”
What are some of your inspirations or influences when working on a project like Fargo? Do you draw from any particular sources or previous works?
“When working on a project like Fargo, I draw inspiration from a variety of sources. One major influence is the work of classic film composers and sound designers who have a knack for creating memorable, atmospheric soundscapes. I also look at the sound design in other films that have a similar tone or genre, as they offer valuable insights into how to handle specific emotional beats or thematic elements. Additionally, I often reference previous projects I've worked on, as they provide a foundation for experimenting with new techniques and styles. The key is to blend these influences with our unique vision for the project to create something that feels fresh and compelling.”
How closely do you work with other departments, such as the directors, writers, and composers, to achieve the desired sound for Fargo?
“I work very closely with the directors, writers, and composers to achieve the desired sound for Fargo. Collaboration is crucial because each department has a unique vision and understanding of the project. For instance, I regularly discuss with the directors and writers to ensure that the sound complements the narrative and emotional arcs of the story. With the composers, we coordinate on how the score and sound design can enhance each other to create a cohesive auditory experience. This level of communication and teamwork helps ensure that the sound contributes effectively to the overall vision of the project.”
Do you have a favorite episode or scene from this season that you worked on? What made it stand out to you in terms of sound mixing?
“One of my favorite episodes this season is Episode 5. It features a particularly intense sequence where sound plays a crucial role in building suspense. The scene stands out because it required a delicate balance between creating a tense atmosphere and allowing key moments to breathe. The way we used minimal sound and strategically placed effects really enhanced the impact of the scene. It’s always rewarding to see how sound can elevate such dramatic moments and contribute to the overall storytelling.”
Looking back on your careers, where does working on Fargo rank in terms of professional achievements? What makes it a standout experience for you?
“Working on Fargo is definitely one of the highlights of my career. It’s a standout experience because it challenges me creatively and technically in ways that few other projects do. The complexity of the show’s sound design and the opportunity to collaborate with such a talented team make it a unique and fulfilling experience. The intricate storytelling and the need for nuanced sound work push me to explore new techniques and approaches, which makes every season a significant achievement in my professional journey.”
Are there any upcoming projects or series that you’re excited to work on? How do you think your experience on Fargo will influence your approach to future work?
“There are a few projects in the pipeline that I’m really excited about, though I can’t share specifics just yet. What I can say is that my experience on Fargo has definitely shaped how I approach sound design and mixing. The level of detail and the creative freedom we have on Fargo have taught me to push boundaries and experiment more boldly. That mindset is something I’ll carry forward into future projects, always looking for ways to elevate the storytelling through sound.”
What advice would you give to aspiring sound mixers who want to work in television and film, particularly on complex and acclaimed series like Fargo?
“My biggest piece of advice is to be patient and pay attention to the details. Working on a show like Fargo requires a deep understanding of storytelling through sound, so it’s important to develop a strong foundation in the basics first. Never stop learning — technology is always evolving, and so are the techniques we use. Also, collaborate and communicate effectively with the rest of the team; the best work comes from understanding the vision and being open to feedback. Finally, don’t be afraid to take creative risks. Sometimes the most unexpected choices lead to the most memorable results.”