We chat with hearsmajor, Scott Smith, and Evan Benjamin, key members of TheBearFX’s sound team, about their important work on the Emmy-nominated series:
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT The Bear has earned 13 Emmy nominations for its first season, including for Outstanding Lead Actor in a Comedy Series, Outstanding Supporting Actor, and Outstanding Comedy Series. Praised—and cursed—by food service industry veterans thanks to its accurate descriptions of the pace and tenor of a commercial kitchen, The Bear also manages to explore themes of family, expectations, and failure to major effect.
Scott Smith: What you see is pretty much how it is on set. Chris really likes to keep things fresh and let the actors improvise a lot, so what you're seeing, ultimately, is pretty much the same chaos that we're dealing with on a daily basis. It can be challenging because we have a rough idea of what's going to happen, but there are not a lot of rehearsals. We're constantly being surprised on some takes, and what happens on take one may not be what happens on take four.
A lot of times, you've got eight [or] ten people in that kitchen. They're all yelling. We want them all to yell. We don't always want to hear what they're yelling, but sometimes we really do. Sometimes there's a guy in the back, and he just yells, “Yes, Chef,” but we want it right there. And we have it.
Steve Giammaria: From an overall perspective, it was. The first two episodes established, like, “Hey, we're in The Beef, and instead of cooking noises, it's construction noises.” Because we have this baseline we established in season one and kind of reestablished in the first couple episode of season two, when you go away to Copenhagen, [or] when you go away to Richie's episode in 207, they feel a lot different.
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