![]() He’s doing this strange thing, playing chess, and she’s never seen the game before. You know, it’s the young girl going down into a basement, and there’s a strange man - the janitor, Mr. In the beginning, the basement plays a very significant role, and it’s got to be a scary place. Space seems to have played a big role in the design, from the isolation of the orphanage basement to the reverberant marble chamber where Beth faces off against Russian Grandmaster Borgov. ![]() I knew that The Queen’s Gambit was a really lovely, craft-driven piece, where original score music, source music, sound design, sound editing and mixing would really get a chance to show themselves in a very subtle way. But once there was a better understanding. So, yes, it was hard to understand how he was going to create an emotional thread that was going to rely on sound from the very beginning. Then he said, “It’s about a young orphan girl who becomes a grandmaster chess player.” I joked, “Couldn’t we do this about a World War I fighting ace or something? In period costumes?” We spoke in very broad terms at that point. When he reached out and told me he wanted to make an original series, and that it was a great sound opportunity, I was really excited. I’ve worked with the director, Scott Frank, a number of times before. The Queen’s Gambit delivers an emotional impact greater than the sum of any of its constituent parts, and Stateman was kind enough to explain how his sound design factored in.Īs a sound designer, what were your first impressions about working on a series about chess? Stateman worked side by side with picture editor Michelle Tesoro, composer Carlos Rafael Rivera and music editor Tom Kramer to create a shining example of teamwork at its best. ![]() She goes on to compete against grandmasters around the world. The Queen’s Gambit tells the story of Beth Harmon (Anya Taylor-Joy), an orphan who discovers her prodigious talent for chess at the age of nine.
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