The 71st edition of the Seminci in Valladolid has decided this year to focus on a protagonist who almost always works from the shadows: cinematic sound. Under the new co-direction of Mariona Viader and Javier H. Estrada, the festival has dedicated a large part of its programming to championing this craft, culminating in the awarding of the Honorary Spike to sound mixer Willie D. Burton.
The recognition comes at a time when the audiovisual industry is increasingly debating the role of sound versus image, as well as the impact of artificial intelligence on technical post-production processes. The presence of professionals from different generations and countries in Valladolid has allowed for this debate to be opened with an international perspective.
Willie D. Burton, a career recognized with the Honorary Spike
Willie D. Burton is the sound mixer for The Odyssey, by Christopher Nolan, and has accumulated eight Oscar nominations, winning two statuettes for his work on Bird and Dreamgirls. His professional career spans more than five decades.
The person in charge of presenting him with the Honorary Spike was the Spanish sound designer Alejandro López, a member of the team for The Black Ball. Burton thanked Universal Studios and the filmmakers he has collaborated with, with a special mention to Christopher Nolan and the team of The Odyssey, which he defined as the most difficult production of his career, although also the most successful.
During the opening gala, the American sound mixer encouraged professionals in the sector to persevere: you have to keep working on what you love, try, and never give up, he noted.
A roundtable to think about sound in contemporary cinema
A day after the gala, Burton and López participated in the roundtable Thinking and Listening to Cinema: A Sonic Odyssey. Burton recalled that his vocation for sound was born while living in Alabama, next to a radio station, watching DJs create their own songs.
For his part, Alejandro López, a native of Gijón, attributed his dedication to cinematic sound to the late José Luis Cienfuegos, former director of the Gijón festival, who introduced him to filmmakers like Kaurismaki and Kiarostami through the festival's programming.
Both agreed that sound still does not receive the recognition it deserves from a large part of the industry. Burton lamented that some young filmmakers do not hire specialized sound professionals, and argued that it should be considered as relevant as the image.
Sound in documentary and non-fiction
On Monday, October 26, the roundtable Echoes of the Real: Sound in Non-Fiction was held, linked to the Master in Creative Documentary at Pompeu Fabra University, which was distinguished this year with the Seminci's academic Honorary Spike. Filmmakers Eva Vila, Irene Bartolomé, Lois Patiño, and Cristóbal Fernández participated.
Cristóbal Fernández, editor of films such as Sirat, pointed out that image and sound often follow different paths during the creative process. In his view, Work in Progress, by José Luis Guerin, marked a turning point 25 years ago in the sound treatment of Spanish documentary. Fernández also noted that in Oliver Laxe's films, sound is constructed in a very elaborate way in the studio, as happened in Sirat.
Irene Bartolomé, who presented the documentary Dream of Another Summer in Valladolid, defended the importance of defining how a film should sound from the beginning of filming. Lois Patiño, director of works such as Samsara, highlighted that silence also constitutes a sonic experience, by separating the spectator from the outside world and turning the work into an internalized image.
Eva Vila, director of the Master in Creative Documentary at the UPF-Barcelona School of Management, compared the sound composition of a film to a musical piece made up of different layers.
Great sound designers of European cinema, under the same roof
The claim for sound crossed borders with the roundtable The Art of Listening: Great Sound Designers of European Cinema, organized together with the European Film Academy. Participants included Axel Arft, a member of the sound team for Wings of Desire, by Wim Wenders; Silvia Moraes, a regular collaborator of Paolo Sorrentino on films such as The Hand of God, The Beauty, and Parthenope; Daniela Bassani, winner of the David di Donatello for Io Capitano, by Matteo Garrone; the Pole Krzysztof Stasiak, with participation in Never Gonna Snow Again, by Malgorzata Szumowska; and Tarn Willers, winner of the Oscar and BAFTA for Best Sound for The Zone of Interest, by Jonathan Glazer.
Everyone agreed that their priority during filming is to capture the best sound possible. Axel Arft explained that he tries to remain invisible on set, focused on making the sound fit the image, rather than constantly dialoguing with the direction.
Tarn Willers noted that his main goal is to obtain lively performances from the actors, eliminating unnecessary noise to facilitate post-production work later. Daniela Bassani pointed out that each film requires a different approach, even within the filmography of the same director, and that it is essential to dialogue with what the script does not explicitly show.
Silvia Moraes summarized a perception shared by a good part of the sector: sound continues to be, frequently, the great forgotten element of the cinematographic process. Regarding the economic differences between industries, she commented that in the United States there are more resources and, therefore, larger sound productions, although that does not necessarily imply better results.
From celluloid to digital, and the arrival of artificial intelligence
The panel also addressed the transition from photochemical shooting to digital imaging. Krzysztof Stasiak highlighted that working on 35mm allows, even today, for multiplying rehearsals before shooting. Tarn Willers agreed that the limitation of available takes forces greater discipline on the entire team, since the economic cost is decisive.
Willers stated that shooting on 35mm for his last film was a satisfying experience, although he clarified that he does not intend to claim that new technologies harm cinema, but rather that it is advisable to value preparation time more.
The emergence of artificial intelligence generated diverse positions among the participants. Willie D. Burton was in favor of integrating this technology into technical processes without giving up the human factor, which he considers essential in sound recording.
Axel Arft, on the other hand, was reluctant to incorporate AI into his work method, although he acknowledged that all professionals are, ultimately, replaceable. Krzysztof Stasiak offered an intermediate view, considering artificial intelligence a useful tool in noise cleaning during post-production. The Polish sound designer closed his speech with advice for young people interested in the trade: patience as a fundamental virtue.
A tribute that closes with a book
The cycle dedicated to sound at Seminci 2026 is completed with the presentation of the new book by critic Carlos F. Heredero, titled The Sound-Image: Sonic Calligraphies and Epiphanies of Listening in the History of Cinema, which delves into the historical relevance of this essential component of cinematic language.
Frequently Asked Questions
Why has Seminci 2026 dedicated so much attention to cinematic sound?
The festival's management, led by Mariona Viader and Javier H. Estrada, wanted to make visible a key trade in audiovisual production that usually receives less recognition than acting or directing.
Who is Willie D. Burton?
He is an American sound mixer with a career spanning more than five decades, responsible for the sound of The Odyssey, by Christopher Nolan, an eight-time Oscar nominee and two-time winner for Bird and Dreamgirls.
What is the Honorary Spike that Burton has received?
It is one of the most prominent awards of the Seminci, presented this year exceptionally to a sound professional in recognition of his career.
What roundtables on sound were held at the festival?
Among others, Thinking and Listening to Cinema: A Sonic Odyssey, Echoes of the Real: Sound in Non-Fiction, and The Art of Listening: Great Sound Designers of European Cinema, the latter organized with the European Film Academy.
What role does artificial intelligence play in cinematic sound according to the experts gathered at Seminci?
Opinions were diverse: while Willie D. Burton advocated integrating it without losing the human component, Axel Arft was reluctant to use it, and Krzysztof Stasiak considered it useful for cleaning noise in post-production.
What book has been presented in relation to this topic?
The Sound-Image: Sonic Calligraphies and Epiphanies of Listening in the History of Cinema, written by critic Carlos F. Heredero.
