Thanks. Would you spell out the implications of this distribution format, for production? Why does the number of channels (for example) that the film is distributed with, matter for production, with regard to recording and processing techniques to do with dialogue?
Also, can you speculate on how the dialogue on that movie was initially recorded? Digitally? Analog tape?
I think the "track count" has to do with the number of tracks available for mixing in the sound editing stage, not how many channels are in the final mix. At the time the sound editors would have been limited by the mixing board itself - how many tapes can run simultaneously. These days, computer audio workstations can have essentially an unlimited number of tracks, allowing endless tinkering and post-production that can become a crutch. My experience is in music production but I think the same applies to film.
Now because everything is digital they can edit it a lot, so they're sloppy with recording techniques because it's easy to, eg raise the volume of a certain part.
In the old days they had to record it correctly at the time because there was no ability to fix it later in post-processing.
Also, can you speculate on how the dialogue on that movie was initially recorded? Digitally? Analog tape?