How the ‘Dune: Part Two’ Sound Team Created the Sonics of Sand Worms and a “Planet of Bloodthirsty Lunatics”

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Although Dune: Part Two follows the narrative from the initial Dune, the soundtrack needed to be self-sufficient in its presentation, notes supervising sound editor Richard King, who was nominated for an Oscar for the movie.

As a gamer, I’d put it like this: From what I gathered, not all the sounds from the first part were completely scrapped for the second. However, Director Denis Villeneuve specifically appreciated the booming thumpers (the devices that summon the sandworms) and the hum of ornithopters (helicopters), which he decided to reuse in Part Two. Contrary to popular belief, we didn’t receive a pre-made sound library for this sequel.

In his words, “This movie is distinct from the previous one, and it explores Arrakis significantly more. Director Denis wanted to delve deeper into this world, but there are novel machines, weapons, and the sandworms play a larger role than before, so we had to develop a unique audio feel for these creatures.

According to King, the worms do not produce sounds in a conventional sense. Instead, their movements generate noises as they interact with the earth. King likened this to thinking about colossal creatures, like skyscrapers, moving through the desert at high speeds, and envisioning the unique sound that would result from such an event. He found it exciting to construct these grandiose soundscapes by combining sounds of sand grinding, metal scraping, and other elements to match the scale of the photography and visual effects.

Among the movie’s most visually striking sequences (and one of the trickiest scenes to film, requiring 44 days) featured Paul Atreides, portrayed by Timothée Chalamet, riding a sandworm. The entire crew, led by King and his team in the sound department, worked together to bring this sequence to life.

King shares, “My goal was to create an atmosphere for the audience that mirrors the actual experience.” He further adds, “I enjoy immersing myself into these scenarios vicariously.” They aimed for an intense impact consistent with Denis’ vision. However, it also required depth. So, we needed to balance tranquil moments with a sudden shock when the worm emerges, like a burst of sand.

As I watched from afar, a colossal rumble echoed in the distance, reminiscent of a distant volcano eruption a hundred miles off – it truly underscored the sheer magnitude of what was approaching. Just like King, I employed sounds of rocketing machinery, thunderous trains, explosions, and the relentless grind of metal to capture the breathtaking impact of that moment.

In the second part, the storyline shifts to the harsh world of Giedi Prime, home to the Harkonnens. Here, Austin Butler’s character Feyd-Rautha engages in a thrilling battle against an Atreides warrior, all captured stunningly under infrared lighting. To create the arena ambiance, they employed a loop group and hired many actors for the echoing chants. Furthermore, Martin Kwok, the ADR supervisor, recruited heavy metal and punk musicians, explaining that they were perfect for their roles because they could unleash raw, intense vocalizations. Essentially, Giedi Prime is populated by wild, bloodthirsty beings who can’t cheer – instead, they let out primal screams.

The scene was intriguingly crafted to include periods of calm, Doug Hemphill, the sound mixer, explains, noting a daring decision. This refers to when Feyd-Rautha quietly says, “You fought well, Atreides,” to the fallen soldier. He deliberately muted the background noise, creating a focused area around Feyd-Rautha and his victim. As a result, it feels as if we are privy to their private moment. Then, after he stabs his victim, the crowd’s noise returns with intensity.

According to King, the movie presented numerous hurdles, but the toughest endeavor turned out to be orchestrating all the diverse types of wind in the desert. It was similar to composing music, as every scene showcased people’s garments fluttering and featured a certain level of sand being whipped up by the wind.

For a few weeks, King and his crew dispatched a sound engineer to the Sahara Desert to amass an extensive collection of wind sounds ranging from completely still to ferocious sandstorms. It was quite enjoyable concocting audio for the scenes during the night with no wind, crafting eerie animal sounds. These sounds resemble reptiles or birds, but were manipulated to sound mysterious and alien-like.

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2025-02-12 00:54