The sound proposal A monster comes to see me manages to make the imaginary world of Bayonne credible Peter Glossop, Oriol Tarrag y Marc Orts recogieron el Goya al Mejor Sonido fruto de encontrar el sonido detr s de cada imagen en una pel cula en la que lo real se mezcla con lo imaginario y donde tiene gran protagonismo tanto lo que se ve como lo que se oye.
Entre las estanter as de Peter Glossop, Oriol Tarrag y Marc Orts hay ya unos cuantos Goya, que llegan a cinco en el caso de Marc, en el de Oriol son cuatro, y en el de Peter Glossop dos, aunque este ltimo est nominado a los Oscar.
Working with Bayonne A monster comes to see me, seg n explica Oriol, ha sido una experiencia maravillosa que consist a en encontrar el sonido detr s de cada imagen. Para conseguirlo hemos conformado un equipo que responde y que sabe tratar cada sonido con cari o para que se pueda reconstruir un mundo imaginario. Cuando se habla de esta categor a de premios, y se los enmarca en el apartado de galardones t cnicos, a n siendo verdad, entiendo que el sonido da esa parte sensible a la pel cula. Haciendo una met fora, dir a que es como cuando le aplicas un barniz a un mueble: el barniz es lo que es pero puede ser brillante o mate, puede aportar matices .
Poner sonido a un monstruo que no existe fue todo un reto para el equipo como cuenta Marc Orts que explic que ha sido alucinante el trabajo porque se ha conseguido hacer algo muy cre ble a pesar de estar manej ndonos en el mundo de la imaginaci n. Hacer de Liam Neeson un rbol de cincuenta metros que se mueve y habla no es nada f cil. Esa es la magia del cine .
Toda la banda sonora de la pel cula se ha montado entre los estudios de Deluxe y Coser y Cantar, de Oriol Tarrag . En el primero, una vez que ten an todo el trabajo hecho, se reconformaba porque sobre la marcha hab a cambios de montaje y eso, seg n los protagonistas, ha sido un trabajo t cnico muy duro pero muy efectivo . Una de las escenas m s dif ciles en cuanto a dise o de sonido fue la de los cuentos porque hab a m sica muy potente, la voz de Liam Neeson y el ni o y todo ello hab a que organizarlo como si fuera una gran orquesta
Sobre las diferencias de trabajo en Espa a con respecto a otros pa ses Peter Glossop cuenta que ha realizado once pel culas y que los equipos aqu con muy buenos y saben trabajar juntos de tal manera que cuando hay un problema no es el de una persona sino el de todo el equipo .
Marc Orts es uno de los t cnicos de mezclas m s respetados de nuestro cine y responsable de grandes xitos de taquilla. Empez a trabajar como t cnico de cabina y v deo en los estudios Soundtrack de Barcelona. Despu s de estar unos a os aprendiendo conceptos y metodolog a de sonido, empez a introducirse en el mundo del cine. Grab efectos sala de varias pel culas y dio el salto al montaje de sonido en largos, donde ha realizado importantes trabajos que han sido reconocidos.
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The sound proposal A monster comes to see me manages to make the imaginary world of Bayonne credible Peter Glossop, Oriol Tarrag y Marc Orts recogieron el Goya al Mejor Sonido fruto de encontrar el sonido detr s de cada imagen en una pel cula en la que lo real se mezcla con lo imaginario y donde tiene gran protagonismo tanto lo que se ve como lo que se oye. 
