Phil Lord does acknowledge that “we did favor the music to get your heart racing” whereas mixing, however is adamant that if the projectionists are enjoying the film with the right ranges, the music should not be getting in the best way of the dialogue.
The artistic crew behind the film will need to have been anxious in regards to the projectionists screwing this half up as a result of they even made stickers that politely request theater employees play the film at “7,” the popular quantity for this one. Aka, crank that sucker up, boys!
This jogs my memory of Ben Pearson’s deep dive into why main Hollywood films had been having sound points. Christopher Nolan is legendary for his films being laborious to listen to. My guess is that what is going on on with “Across the Spider-Verse” is that it is such an advanced combine that they fine-tuned it to perfection … however in an ideal setting: a professionally calibrated mixing studio. You cannot rely on theaters even turning the quantity to the right ranges, not to mention having all their audio system optimized for this combine.
I did not have a lot drawback listening to the dialogue in my native Dolby Atmos theater, however that does not imply it is not a problem elsewhere. It’d be fantastic if all film theaters put presentation at first (vivid screens, good sound), however that is not the world we dwell in, a lot to Phil Lord and Christopher Miller’s dismay.