IMDb > "Masters of Horror" Sounds Like (2006)

"Masters of Horror" Sounds Like (2006)

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Masters of Horror: Season 2: Episode 4 -- For call center supervisor Larry Pearce (Chris Bauer of THE WIRE, THIRD WATCH and 8MM), listening is a way of life. His days are spent monitoring hundreds of tech support phone conversations, his ultra-sensitive ears attuned to every nuance of voice and sound. But in the months following his young son's tragic death, Larry's hearing intensifies until it becomes virtually superhuman. Now simple noises around him have amplified into a cacophony of torment. And as Larry slowly begins to lose his grip on reality, he must take violent action to quiet the deafening clamor. In a world where nothing screams louder than the madness of grief, how far will one man go to find the ultimate paradise of absolute silence?


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Mick Garris (creator)
Brad Anderson (teleplay)
View company contact information for Sounds Like on IMDbPro.
Original Air Date:
29 October 2006 (Season 2, Episode 4)
Deeply affected by a personal tragedy, an office drone comes to realize his sense of hearing has taken on extraordinary capabilities that could drive him insane. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
FINALLY! An Episode That Might Get Even Rod Serling's Approval... See more (24 total) »


 (Episode Cast) (in credits order) (verified as complete)

Chris Bauer ... Larry Pearce

Matty Finochio ... Tech

Laura Margolis ... Brenda
Matthew Burgess ... Tech 3

Blaine Anderson ... Tech 2
Linnea Sharples ... Tech 1

Nicholas Elia ... Larry's Son
Grant Elliott ... Doctor

Richard Kahan ... David

Robert Underwood ... Father
Jaida Kong ... Daughter

Michael Daingerfield ... Jim
David Allan Pearson ... Manager
David Lovgren ... Therapist

Nimet Kanji ... Cashier
Marc-Anthony Massiah ... Cop 1

Michael Jonsson ... Cop 2
rest of cast listed alphabetically:

Maggie Ma ... Pencil Chewer in Library (uncredited)

Episode Crew
Directed by
Brad Anderson 
Writing credits
Mick Garris (creator)

Brad Anderson (teleplay)

Mike O'Driscoll (short story)

Produced by
Keith Addis .... executive producer
Morris Berger .... executive producer
Steve Best .... associate producer
Stephen R. Brown .... executive producer (as Steve Brown)
Ben Browning .... co-producer
Andrew Deane .... executive producer
Mick Garris .... executive producer
Adam Goldworm .... co-producer
John W. Hyde .... executive producer
Lisa Richardson .... producer
Tom Rowe .... producer
Pascal Verschooris .... line producer
Original Music by
Anton Sanko 
Cinematography by
Attila Szalay (director of photography)
Film Editing by
Andrew Cohen 
Casting by
Stuart Aikins 
Sean Cossey 
Lindsey Hayes Kroeger 
David Rapaport  (as David H. Rapaport)
Production Design by
David Fischer 
Art Direction by
Teresa Weston 
Set Decoration by
Ide Foyle 
Costume Design by
Lyn Kelly 
Makeup Department
Howard Berger .... special effects makeup
Mike Fields .... on-set key makeup artist (as Michael Fields)
Sarah Graham .... on-set key makeup artist
Terry Hanson .... first assistant hair stylist
Tanya Hudson .... first assistant makeup
Greg Nicotero .... special effects makeup (as Gregory Nicotero)
Adina Shore .... key hair stylist
Margaret Solomon .... key makeup
Leslie Graham .... assistant makeup artist (uncredited)
Production Management
Margo Coughlin Zimmerman .... production manager: Starz Productions (as Margo Zimmerman)
Sally Dixon .... post-production supervisor
Sheri Mayervich .... unit production manager
Stacey Jade Smart .... executive in charge of production: Starz Productions
Pascal Verschooris .... production manager
Second Unit Director or Assistant Director
Ania Musiatowicz .... third assistant director
Darren Robson .... second assistant director
Ian Samoil .... first assistant director
Art Department
Andrei Andrianko .... assistant art director
Nick Dibley .... property master (as Nicholas Dibley)
Dylan Dowd .... lead greens person
Jim Geddes .... construction coordinator
Mark Jones .... set dresser
John McIntosh .... greens
Jake Miller .... assistant property master
Nathalie Morin .... assistant set decorator (as Natalie Morin)
Zbibgniew Scheller .... construction foreman (as Zbish Scheller)
John Wilcox .... paint coordinator
Jean Brophey .... on-set dresser (uncredited)
Izabela Domachowski .... set dresser (uncredited)
Les Ford .... computer graphics designer (uncredited)
Rowena O'Connor .... assistant on-set props (uncredited)
Scott Riddell .... second assistant props (uncredited)
Sound Department
Anke Bakker .... sound supervisor
Kevin Belen .... re-recording mixer
Brian Campbell .... dialogue editor
Jay Cheetham .... background sound editor
Jacqueline Cristianini .... dialogue/adr supervisor
Kris Fenske .... sound designer
Devan Kraushar .... sound effects editor
Jason Mauza .... foley editor
Laurie Melhus .... audio post-production coordinator
Glen Noseworthy .... adr mixer
Iain Pattison .... re-recording mixer
Sebastian Salm .... sound mixer
Paul A. Sharpe .... re-recording mixer (as Paul Sharpe)
Shane Shemko .... foley artist
Colin Smith .... boom operator
Cam Wagner .... foley artist
Matthew Wilson .... sound effects editor
Todd R. Mason .... sound effects recordist (uncredited)
Special Effects by
Jaremy Aiello .... effects crew: K.N.B. EFX Group
Randy Ball .... effects crew: K.N.B. EFX Group
Mark Boley .... effects crew: K.N.B. EFX Group
Derek Heselton .... best boy special effects
Grady Holder .... effects crew: K.N.B. EFX Group
Jim Leonard .... effects crew: K.N.B. EFX Group
Ben Rittenhouse .... effects crew: K.N.B. EFX Group
Wayne Szybunka .... special effects coordinator
Veronica Torres .... effects crew: K.N.B. EFX Group
A.J. Venuto .... effects crew: K.N.B. EFX Group
Attila Vaski .... lead/fab/asst (uncredited)
Visual Effects by
Matt Belbin .... digital effects editor (as Matthew Belbin)
Sébastien Bergeron .... digital effects supervisor
Les Quinn .... cg artist
Lisa K. Sepp .... visual effects producer (as Lisa Sepp-Wilson)
Jonah West .... digital compositor
Lee Wilson .... visual effects supervisor
Jayson Castro .... visual effects production assistant (uncredited)
Stephen Paschke .... digital artist (uncredited)
Jim Dunn .... stunt coordinator
Camera and Electrical Department
Mark Berlet .... gaffer: second unit
Mark Cooper .... first assistant camera (as Sandy Cooper)
Lane Koch .... first assistant camera
Mike Kolafa .... gaffer (as Michael Kolafa)
Steve Sherlock .... key grip
Jared Smith .... best boy lighting
Shai Vera .... best boy grip (as Shae Vera)
Peter Wilke .... camera operator: "b" camera
Richard Wilson .... camera operator: "a" camera
Rob Cantin .... lighting technician (uncredited)
Ian Gariepy .... dolly grip (uncredited)
Aaron Haesler .... second assistant camera (uncredited)
Jeremy Spofford .... second assistant camera (uncredited)
Casting Department
Sandra-Ken Freeman .... extras casting
Costume and Wardrobe Department
Glenna Owen .... assistant costume designer
Tyler Tone .... set costume supervisor
Debra Torpe .... costume truck supervisor (uncredited)
Editorial Department
Richard Cordes .... color timer
Andrea Dixon .... color timer
Asim Matin .... assistant editor
Matt Venables .... post-production coordinator
Mike Williamson .... editorial coordinator
Location Management
Scott 'Big Dog' Franklin .... assistant location manager (as Scott Franklin)
Susan Nestibo .... location manager
Music Department
Mike Beckett .... music editor
Jennifer Ross .... music supervisor
Ed Shearmur .... composer: main title music (as Edward Shearmur)
Transportation Department
Louie Hausner .... transportation captain
John Swetlikoe .... transportation coordinator
Vince Morden .... cable truck (uncredited)
Duane Shearer .... office driver (uncredited)
Jovan Vujatovic .... picture car coordinator (uncredited)
Other crew
Christine Barrie .... stand-in
Laura Collini .... script supervisor (as Laura June Colini)
Genessa Davis .... assistant production coordinator
Jim Desroches .... production coordinator (as James Desroches)
Annie Doyon .... assistant accountant
Elissa Friedman .... production administration manager: Starz Productions
Cameron Grierson .... assistant to producer
Cameron Grierson .... script coordinator
Richter Hartig .... production auditor: Starz Productions (as Richter Q. Hartig)
Dave Harvey .... assistant accountant
Andrea Kaufman .... production coordinator: Starz Productions (as Andrea M. Kaufman)
Katy Lew .... executive administrator
Ross Redhead .... assistant to producers
Adrian Salpeter .... assistant to producers
Stephen Tibbetts .... stand-in (as Stephen Tibbets)
Bill Vigars .... unit publicist
Steven Vlasak .... operations manager
Beverly Wiens .... production accountant
Stephanie Brown .... production assistant (uncredited)
Nancy Heller .... office manager: Anthem Visual Effects (uncredited)
Krista Johnston .... clearance (uncredited)
Simona Pandele .... production assistant (uncredited)
Crew believed to be complete

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

58 min
Australia:MA15+ (2007) | Canada:13+ (Quebec) | Germany:18 (DVD rating) | Germany:16 (TV rating) | Italy:VM14 | Spain:18 | USA:TV-MA

Did You Know?

Errors made by characters (possibly deliberate errors by the filmmakers): When talking to the shrink, Larry says he monitors 531 conversations a day, then says "that's 2,655 times a day...". He should have said 2,655 times a week.See more »
Movie Connections:
Referenced in Unikal'noe pozdravlenie (2014)See more »
Foetus Of a New Day KickingSee more »


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14 out of 18 people found the following review useful.
FINALLY! An Episode That Might Get Even Rod Serling's Approval..., 22 November 2006
Author: Christopher T. Chase ( from Arlington, VA.

Do you recall the classic Edgar Allan Poe story, "The Tell-Tale Heart?" That masterpiece of madness in which the murderer of an elderly man can swear he hears the beating of his victim's heart beneath the floorboards where he placed the dismembered corpse? The acute presence of that sound, as ominous and inescapable as his guilty conscience, is what set the tone for the whole story.

Now imagine, if you will, applying that level of intensity to every single sound that exists in your life. Lawnmowers that sound like a hundred Sherman tanks...the sound of someone chewing on a stalk of celery at a restaurant table twenty feet across the room, but it sounds like a blizzard of termites taking down Yellowstone National Park all at once.

This is the nightmarish world that Larry Pearce lives in. The supervisor of a customer service call center at a major computer vendor, the horror began for him following the tragic death of his only child. Suddenly, for a man who makes listening his livelihood, being deaf would actually be considered a godsend.

SOUNDS LIKE could arguably be the best episode that MOH has produced thus far; one of the best at a minimum. For too long, like so many other fans of the series, I've held out for an episode that can be smart, gory and terrifying all at once, and I believe this is finally it. In fact, there is relatively little gore (especially for an MOH episode) until the climax of what is a horrific, yet ultimately sad and tragic tale.

I've heard of the director, Brad Anderson, but I've never seen the two films he's best known for, THE MACHINIST or SESSION 9. Now after seeing this episode, I will definitely have to check out the rest of his work. With SOUNDS LIKE, he has produced a shockingly original piece of work that equals anything that the other MOH alums came up with when they were at their absolute peak.

I also can't say enough good things about Chris Bauer's performance as the tortured, doomed Larry. I had seen him briefly in a few scenes from the acclaimed cable series THE WIRE, but because I'm not a regular viewer of that show, I had no idea what Chris was capable of until now. He paints such a vivid portrait of a man on a downward spiral of madness and despair, you can't help but wonder where his inspiration comes from. Your heart goes out to the poor guy, even as your stomach churns at some of the horrific things his rapidly disintegrating mind makes him do. One of the best performances you will see on this show in Season Two, period.

And befitting the show's subject matter, sound design is key, and director Anderson and his creative team make the most of it. You might never think of 'listening' the same way again after this.

If I had to knit-pick at all, it's that it goes on a little long even at just under an hour. As a thirty-minute short, this would've been nothing less than sheer brilliance. But even at the hour length, I doubt there will be any more MOH episodes this well-done.

I look forward to seeing more new work coming from both Anderson and Bauer, and will not hesitate recommending to anyone curious about this series, that they watch SOUNDS LIKE first, before seeing any other MOH episode - and that includes anything in Season One.

I don't know what Rod Serling would think if he were still with us, but I would bet that he'd give this his seal of approval, cursing himself all the way for not coming up with this idea for THE TWILIGHT ZONE or NIGHT GALLERY.

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