For my indie feature film debut, 1000 Miles Per Hour, I am looking for a Sound Designer to join the post-production team and help shape the film’s soundscape.
ABOUT THE FILM
1000 Miles Per Hour is an 80-minute psychological thriller with science-fiction, surreal, and body-horror elements.
The story follows two men who wake up with no memory inside a moving truck, with all evidence suggesting that they have been imprisoned inside it for months. As they try to piece together what happened to them, the film gradually becomes a story about young people lost in their seemingly futile lives, overwhelmed by the weight of their own ambitions and trapped in cages they may no longer even desire to escape. Ultimately, it is also a story about understanding and finding oneself, redefining one’s values, and deciding how much of oneself one is willing to sacrifice in order to succeed, or, alternatively, to start over again.
The film is strongly influenced by the Korean New Wave, in particular the work of directors such as Bong Joon Ho, Park Chan-wook, and Na Hong-jin. At the same time, it draws inspiration from the surreal body of work of Charlie Kaufman, with a particular focus on the story’s puzzled structure and its omnipresent psychological tensions between the protagonist and the world surrounding him.
YOUR ROLE
I am looking for someone who can take an active creative role in developing the film’s soundscape.
The main responsibilities would include:
– Creating and developing the film’s overall soundscape and sonic identity
– Designing atmospheric, psychological, and tension-building sound
– Editing and layering ambiences, effects, and other sound elements
– Working closely with me as the director throughout the process
The role is focused specifically on creative sound design and does not include dialogue editing, dialogue cleanup/restoration, or other dialogue post-production responsibilities. These aspects of the film’s sound post-production will be handled separately.
The existing sound will need to be largely rebuilt from the ground up. This means there is considerable creative freedom to shape how the film ultimately sounds, but also a substantial amount of work to be done.
CREATIVE DIRECTION
I already have ideas, references, and a general sonic direction in mind, but I am very interested in collaborating with someone who can bring their own perspective and ideas to the project.
I would therefore prefer the sound design to develop through close creative exchange, rather than simply following a fixed brief.
The overall soundscape is intended to feel gloomy, mechanical, and at times industrial, with sound effects and ambiences designed to evoke a sense of hostility, isolation, and unease within the film’s environments.
In terms of atmosphere, some of my references include the soundscape of Ridley Scott’s Alien and the HBO series Chernobyl.
At the same time, the surreal nature of the film allows for more experimental approaches to perspective. There are moments in which the film deliberately plays with the point of view from which events are heard, including sequences where the soundscape becomes highly subjective and immersive, in a similar vein to Sound of Metal.
The film also moves through a deliberately varied range of environments. For example, one major sequence takes place during a storm on a raging sea, while another one, later in the film, takes place on a beach, requiring a very different sonic character. Due to the film’s science-fiction and surreal elements, there is also one particular sequence that draws audible inspiration from the retro Czechoslovakian science-fiction film Ikarie XB 1.
These are only some of my initial references and ideas. More detailed explanations and specific references can be discussed with applicants who are interested in taking the project further. I wanted to mention them here already, however, because I believe the film offers a wide and varied sonic palette, as well as considerable room for a sound designer to experiment, demonstrate their skills, and develop their own creative ideas.
CURRENT STATUS & TIMELINE
The film is currently in the final stages of editing. The main cut is already very close to picture lock, with only minor adjustments expected following the final test screenings.
I expect the sound-design work to begin approximately between 15 October and 1 November 2026, depending on the final editing process and the sound designer’s availability.
Once the picture is locked, I would like to move directly into the final phase of post-production. The exact sound-design schedule is flexible and will be agreed together, depending on the sound designer’s availability and their assessment of the project after seeing the film.
Quality is more important to me than rushing the process, so I am happy to discuss a realistic timeline together.
Before committing to anything, I would be very happy to arrange a call, and later in the application process, show you the current cut, so you can get a proper impression of the film and the scope of the work.
WHO I’M LOOKING FOR
Ideally, you:
– Have previous experience in sound design
– Have worked on narrative films, short films, or other cinematic projects
– Have a strong sense of atmosphere, rhythm, and storytelling through sound
– Are interested in experimental or psychologically driven sound design
– Enjoy working collaboratively with a director
– Are optimally Berlin based (not a necessity though)
Experience with thriller, horror, science fiction, or arthouse cinema would be particularly relevant, but is not a requirement.
Most importantly, I am looking for someone who is excited by the creative possibilities of the project.
COMPENSATION
This is a self-funded independent film, so unfortunately I cannot offer a standard industry fee.
I have nevertheless set aside an expense compensation fee of €1,400. I know that this does not reflect the full professional value of the work involved, which is why I want to be transparent about the budget from the beginning.
Besides the expense compensation, you will of course also receive:
– Sound Designer credit on the finished film
– The opportunity to use the feature film in your portfolio / showreel
– Credit in festival submissions and promotional materials where applicable
– A finished feature film that can be presented as part of your professional work
INTERESTED?
If the project sounds interesting to you, I’d love to hear from you.
Please feel free to send me an email at 1000milesanhour.film@gmail.com telling me a little about yourself and your previous work. I would then be happy to arrange a Zoom call and talk through the project , our potential collaboration, references and the scope of the sound design.
I look forward to hearing from you!
Ronny Papak