Russell takes a moment to recall a scene from Mendes's "Road to Perdition," which was nominated for Best Sound (now Best Sound Mixing) and Best Sound Editing at the Oscars and even won the Cinema Audio Society's award for mixing. It's perhaps the most iconic moment from the film, mobster John Rooney (Paul Newman) and his seedy entourage approaching their cars on a rain-soaked Chicago street. The sound of rain splattering in puddles drops out entirely, allowing Thomas Newman's score to delicately take over as Michael Sullivan (Tom Hanks) mows down the entourage with his Tommy gun, saving Rooney for last. As Sullivan approaches, the rain and other diegetic elements fade back in for Rooney's key line -- "I'm glad it's you." -- and Sullivan finally takes his revenge, the rackety sound of gunfire hitting the soundtrack for the first time in the sequence.

It reminds Russell of how Mendes chose to handle the Shanghai sequence of "Skyfall," which has also been singled out as a particularly stunning example of cinematographer Roger Deakins's work in the film.

"One of my favorite music pieces in the film happens to be this cue of Bond following Patrice to this particular building," Russell says. "We get there and there’s all of these cuts of cars and high shots of traffic and low-cut angles to tires. In the past we would have been hitting those sounds, the wet street. Sam didn’t want to hear any of that. It’s much more fluid, those cuts and those images, without hearing sound delineate between each cut. It makes it more poetic. It makes it like a ballet.

"And that's on up through Bond running in and leaping onto the elevator and following him up to whatever floor they're on. You don’t want to hear Bond's movement. The two shots where we are close up on his feet, we hear his feet, his footsteps. Otherwise, you do not hear him. We want him completely stealth in pursuit."

It's an interesting sequence for sound, too, because of the constant whirring of a glass cutter that fills the sound space. Bond's target, who eluded him in the first sequence of the film, is cutting a hole for his rifle on an assassination attempt. The whirring stops and then there's the "thump" of the cut portion popping out and the whistling of wind outside the hole, which itself yields a visceral reaction about how far up we are (a foreshadowing, in fact, of where the sequence will ultimately go).

"That wind was a very specific sound," Russell says. "That's a choice, of what wind that should be. Sam handpicked from, I’m going to say, a half a dozen new winds that we tried, that I would audition for him. And again, it's part of the narrative of the story. We did have other material and ambiance and we pulled all of it out. So really, Sam just likes it clean."

But while that kind of work might be a little more noticeable, given that the suspenseful sequence has all of a viewer's senses piqued, Russell and Millan's work can also be heard enhancing seemingly mundane moments. Take the entrance of Bond's villain, Silva (Javier Bardem), in the film. It's perhaps not so mundane, given the interesting choice of bringing the character down an elevator and having him slowly move across the room until he's face-to-face with Bond, moving out of focus into focus in a highly dramatic one-shot moment, but it's certainly not something you would immediately identify for its sound. Yet the mix built on that reveal as much as the visuals.

"That’s a bold move, this long entrance, this introduction to our villain," Russell says. "Because you focus on him and his speech. And yes, it’s clear, but it certainly has more echo and gets drier as he gets closer, and yet there is still a firmness about it. And the same treatment had to happen with the feet. One of the things that’s interesting about Sam is his perception, because it’s astute, his ear. It’s incredible. He will know that if you have a kind of treatment on the voice, you better match that same treatment on everything else so that it’s all in the same space.

"And one of the other aspects of that scene is there would have been opportunities. It’s a long scene and we had a lot of computer-type hums, low-end things. Other directors would have probably wanted to fill that space up. But it was distracting from the voice. We had all that content and we had been playing with it, and finally he said, 'Just pull that.' It was very clear that he wanted to keep this really simplistic and not jazz it up too much. And so we had a very light kind of hum, some light clicking. Every now and then there’s a little beep. It was about lettting the rich power of the performance drive the scene and not distracting from it."

Whether it was the opening chase sequence with Newman's pulsating score driving the track, Russell's signature heard in motorcycles and train engines and bullets whizzing past, or a moment like the above, tailoring the audio to serve performance in quiet but purposeful ways, "Skyfall" had it all. Russell says he learned a lot about patience on the film, that during the process of experimentation, things may lead down a direction that doesn't feel satisfying, but in further analysis and evaluation of the work, the "pendulum" will swing back around. But mostly, he takes away a unique perspective in a brand of filmmaking that has been his business for over three decades.

"I've done a lot of action," Russell says. "For me, I liked finding the nuance of Sam Mendes in the delicacy and the simplicity of storytelling. And that was my gift, of getting the opportunity to work with him, because he’s a very brilliant, very smart guy. It was a little daunting, the expectations of it, being the 50th anniversary of James Bond. But there were so many really cool, emotional aspects of being a part of this film."

"Skyfall" is currently available on DVD/Blu-ray.

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Kristopher Tapley has covered the film awards landscape for over a decade. He founded In Contention in 2005. His work has also appeared in The New York Times, The Times of London and Variety. He begs you not to take any of this too seriously.