The latest James Bond film, from director Cary Joji Fukunaga, is a veritable feast of emotion and tone. Along with the requisite jaw-dropping action sequences, the film is chock-full of emotional pathos and tender moments, appropriate for Daniel Craig's sendoff as the titular British super-spy. But also, perhaps surprisingly, some very humorous sequences, as well. With a running time of over 2 and 1/2 hours, the sound team had their work cut out for them, and on a very tight timeline. So how did they manage to craft such an exciting, yet tender, and often hilarious new Bond film under such tough deadlines? Today we sit down with supervising sound editor Oliver Tarney and re-recording mixers Paul Massey and Mark Taylor to find out exactly that. Did they go back in and make changes after the film was "finished?" After all, the release was delayed substantially due to the Covid-19 pandemic. "Sometimes on a really focused tight schedule on a big film there's a certain energy about that. And if you had more time, you could explore more, it can become over-polished. Something a little bit sterile can creep in sometimes. I've been on movies that felt like that a little bit. So there is an energy with everyone just going full-tilt, trying to get something done. And there might be a few little rough edges, but that's part of it. It doesn't feel over-produced. Maybe there would be that danger if you opened it up again and just said, 'we've got all this time.' You start maybe just making it a little bit too sanitized or something. I think it's just got a really good energy about it, the film. And I'm glad it finished when it did."— Oliver Tarney, Supervising Sound Editor, "No Time to Die"Be sure to check out No Time to Die at a Dolby Cinema near you.Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.