APRIL 2025
Danika Wikke grew up in Northern California and knew from a young age that she wanted to work in the motion picture industry. Now an acclaimed sound supervisor, she has earned industry recognition and multiple award nominations for her exceptional work on projects such as ‘Only Murders in the Building’, ‘Better Things’ on FX Networks, and ‘Quincy’ for Netflix. Her dedication and talent continue to set a high standard in the field and it’s an honour to have her on this year’s judging panel. In this interview, Danika shares her passion for sound, her creative process, and valuable advice for aspiring sound professionals…
MASA: You’ve built an incredible career in sound. What was your first step into the industry, and at what point did you know sound was your calling?
DANIKA: My first job in the industry was at a production house that specialized in unscripted shows. I was hired as a sound/dialogue editor for their finishing department where they also did the final color and video processes for delivery. This role allowed me to gain a comprehensive understanding of the general post process, as I was involved in various aspects of all the shows they produced. This mainly included cutting dialogue, sound effects, and music editing. But I also prepared the show templates for their re-recording mixers, mixed some international segments, and addressed the QC (quality control) notes from the TV and streaming networks.
I first became interested in the entertainment industry at a very young age. I always felt movies, television, and theater were so creative and fun. I loved the storytelling aspect of it all. In college, I studied Film Television Arts and was drawn to sound. I started recording on set for our student films and then later began editing the sound in a post environment. It didn't take long for me to be hooked. I loved creating and manipulating audio to enhance every story or project I worked on.
MASA: Can you describe your role and responsibilities at Formosa Group? What attracted you to the company, and how has the environment there influenced your creative process?
DANIKA: As a supervising sound editor, my primary responsibility is to oversee the sound editorial process for a show in post-production. I collaborate with a team of editors (dialogue, effects, music and foley) to help produce the final audio for each episode or movie. One important part that I’m responsible for is the task of cueing each show. This is a watch down I do where I evaluate problem areas that either will need ADR for technical or maybe creative reasons and loop group notes for where specific human ambiance needs to be re-created in post. To ensure that all these unique or specific moments are addressed, I provide spotting notes to the team, outlining the key points that require attention based on my meetings with the showrunner/producers. Subsequently, I combine all our individual sessions into a master session, making necessary adjustments to optimize the sound for the mix stage. Finally, we proceed to the mix stage, where I collaborate with our Re-Recording mixers to achieve the desired and optimum sound quality.
MASA: You won a Golden Reel Award and were nominated for a Primetime Emmy for your work on ‘Only Murders in the Building’. Big congratulations! Such brilliant work. Can you tell us about a particularly challenging and/or rewarding scene you worked on for that show?
DANIKA: One memorable scene I worked on was from the first episode of the fourth season. The episode concluded without dialogue, relying solely on sound effects to convey the unfolding events surrounding a character named Sazz. This presented a unique challenge, as dialogue typically guides a scene’s progression. However, by eliminating the dialogue, we were able to emphasize all the other sounds, allowing the audience to embark on the journey with the characters as they pieced together the events simultaneously.
MASA: A brilliant example of how sound alone can tell a powerful story - a real testament to your skill. A broader question - as co-supervising sound editor on the project, how did you collaborate with Mathew Waters to create the show's unique sound?
DANIKA: During the early stages of the post-production process for the first season, Matt started off by compiling a soundscape for the Arconia and the surrounding New York City area. For that season, I edited the dialogue so my primary focus was to ensure its clarity and coherence to help drive the story. The characters all have so much personality that it gives us a lot of opportunity to add various dialogue elements or ‘efforts’ to enhance the comedic timing during various scenes. As the locations became more established, we strive to maintain that consistent ambiance throughout each subsequent season. Our goal is always to create a familiar and cohesive soundscape of the building and then get creative for any new locations. For example, police sirens are typically reserved for locations outside the Arconia, unless they serve a crucial plot point. That's just a decision that was made and we've stuck to it. Additionally, we incorporate subtle Easter eggs by adding our own voices as passerby ‘group’ characters sometimes, because why not!!
MASA: Such a fun touch - great rewards for attentive fans! On to your work on ‘Lioness’… can you describe your collaboration process with the show's creators to achieve their vision for the audio landscape? Were there any unique challenges you faced in creating the soundscape for a spy thriller series?
DANIKA: ‘Lioness’ demanded a meticulous approach to sound design overall, ensuring a realistic and gritty cinematic experience. Given its military themes, as the post sound team, we prioritized accuracy in portraying weapons, vehicles, helicopters, and other equipment. While action scenes were designed to be impactful, dialogue was crucial to maintain clarity, which can be challenging. The sound design also emphasizes the dynamic nature of quieter moments, which can create a powerful audio experience. We leaned into the silence during the quiet moments and we went big on the more action packed moments.
MASA: Balancing realism with cinematic impact is no small feat - your approach clearly brought authenticity and tension to the series. Now, looking back, what advice would you give to someone starting their career in sound?
DANIKA: I would say a valuable tip is to maintain a professional demeanor, focus on delivering high-quality work and be persistent. By doing so, your efforts will naturally speak for themselves and attract attention from potential clients or collaborators. You never know where your next gig may come from.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
DANIKA: When judging, I’m looking for creative pieces where all the audio elements work together to create an immersive experience. Something that’s moving and engaging, brought on by the recorded audio, music and soundscape, is paramount.
MASA: Thank you so much, Danika, for sharing your insights and experiences with us - it’s been a true pleasure learning about your inspiring journey and the artistry behind your incredible work.
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