In the latest episode of the Geektown Behind The Scenes podcast, we take a deep dive into the sound of dystopia, chatting with two of the brilliant creatives behind the haunting audio world of The Handmaid’s Tale, which is currently airing its sixth and final season on Channel 4 & Prime Video in the UK, and Hulu in the US.
Joining host Dave Elliott are David McCallum, supervising sound editor specialising in dialogue and ADR, and Brennan Mercer, sound designer and sound effects editor. Between them, they’ve helped shape the auditory soul of the series from day one, building a world where every whisper carries weight and silence is never truly silent.
“Handmaid’s Tale exists in two worlds,” says McCallum. “There’s the realistic space we’re in, and then there’s the subjective space of June’s head. The most interesting work is how you get from one to the other — and how sound can guide that shift without the audience even realising it.”
From the quiet oppression of Gilead to the chaos of rebellion, the pair reveal how sound helps elevate the storytelling. Whether it’s building subtle tension through ambient details or crafting an emotional rhythm that blends seamlessly with the score, their work is deeply integrated into the show’s DNA.
“There’s this idea that environmental sound can leak into a character’s headspace,” adds Mercer. “Like on the refugee train in season six — the rhythmic clacking becomes part of June’s dream, until it shifts into a screeching rail that signals anxiety and danger. We always want the sound to serve the story, not just decorate it.”
The episode also explores their long-running collaboration with director and star Elisabeth Moss, who McCallum says has “fallen in love with sound as a storytelling tool,” and brings genuine enthusiasm to the audio side of production.
And yes, they even talk about that infamous milk train sequence, which involved days of painstaking audio reconstruction and a heroic ADR session with Madeline Brewer (Janine). As McCallum recalls:
“It’s one of those moments where you start with no idea how to tackle it… and by the end, it’s some of the best work you’ve ever done.”
The sound for The Handmaid’s Tale is produced at Tattersall Sound & Picture in Toronto. Dialogue & ADR supervision is led by David McCallum, with Brennan Mercer designing and editing effects. Re-recording mixer Lou Solakofski ensures a seamless final mix, and the team works closely with producer Sheila Hockin, director Elisabeth Moss, and the show’s editorial crew to bring the world of Gilead to life through sound.
Whether you’re an aspiring sound editor, a fan of The Handmaid’s Tale, or just love a good behind-the-scenes story, this is a fascinating listen.
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