Oscar Winner for ‘Titanic’ Visits Pula: ‘My Relationship with Tarantino Reflects the Ideal Version of a Challenging Filmmaking Lifestyle’

Alongside James Mather, another guest at the Carnet THECUC conference and DreaMakers Productions event in Pula was Mark Ulano, a filmmaker with an impressive biography, including an Academy Award for James Cameron’s legendary Titanic. This acclaimed sound engineer has also been nominated for his work on Inglourious Basterds, Ad Astra, and Once Upon a Time in Hollywood. His collaboration with Quentin Tarantino spans more than 29 years, contributing to films such as The Hateful Eight and Django Unchained. Ulano has been professionally recording film sound since 1976.

Ulano served five terms as president of IATSE Local 695 (Film Sound Union) and was also a five-term member of the Executive Board of the Academy of Motion Picture Arts and Sciences, Sound Branch. He has authored over 50 articles, interviews, and reviews about production sound mixing.

“They welcomed us, and we became part of the community, or rather the family, created by DreaMakers in collaboration with Carnet and Carnet Hub,” says Ulano, whom we met in Pula. “Our contribution consists of providing practical strategies and teaching philosophies essential for survival in this industry—how to enter storytelling, because that’s what we do. I love Pula.”

“We’ve been here before and returned to the amphitheater, which is incredible, and we had a wonderful time. This group recognizes the value of these skills in their artistic community. For me, that’s the core of how we use our careers today.”

“It’s one thing to work on projects one at a time, but entirely another to take all that experience and recycle it to help others begin their careers—to offer guidance, reassurance, and encouragement:

• A – Yes, you can do this, don’t be afraid.
• B – Be responsible and committed to becoming your best.
• C – Continue learning your entire life, always seeking improvement,” advises Ulano.

“We’re filmmakers, and our special form of art is sound. We are sound artists, and we bring that into filmmaking and all content—not just cinematic, but media generally. Today, every form of storytelling combines sound and image, and we’re among the first layers of creating sound for content. We capture performances.”

“We interpret the story’s intention, the screenplay, the director’s vision, and the actors’ transformation of the director’s ideas into characters. Through the tonal quality of sound, we strive to emotionally connect those characters with the audience.”

Thus, the audience is invited to believe, engage with the characters, and forget the technology—believing instead in the humanity of the story being told. “Our goal is to passionately collaborate toward that hope and idea,” explains Ulano.

When asked about what guides him when choosing a project, he responds:
“For me, it’s about understanding the story. Who am I spending 16-18 hours a day with over the next six months, creating something from nothing? How does this fit into my life?”

“As artists, we’re always balancing our obsessive nature and passion for our work with other commitments to family, health, and personal integrity. I want to know who the director is, what their vision is, and how I, with my instrument, can contribute.”

“Sound is like an instrument, and the film crew is like an orchestra. Each passionate artist is dedicated to their role, just like musicians in an orchestra. The cinematographer may be the first violin; I might be percussion. That metaphor is always present. We channel our egos toward a common goal, not personal territory or promotion.”

“The real reward isn’t an Oscar; it’s doing what we love with people who share our passion.”

Director as Conductor

According to Ulano, the director is the orchestra’s conductor and must thoroughly understand his vision.

“Each director has unique methods and approaches. I’ve collaborated with Quentin Tarantino for nearly 30 years. Each project is different, so I always start by reading the script.”

“I isolate myself—no distractions—and read the script in one sitting to go on a journey. Afterward, I revisit it for deeper analysis, creating a list of questions: What’s the director’s vision? Who are these characters, and how do we reveal them to the audience? What’s their environment? These questions form the basis of my approach.”

“My responsibility is connecting performances in front of the camera with my own behind-the-camera performance, inviting the audience into the story.”

Challenges on Set

Ulano recalls difficult moments, such as filming at the Spahn Ranch for Once Upon a Time in Hollywood, which was near a private airport. Airplane noise was a constant disruption.

“We had limited control and often had to wait or adjust filming to avoid breaking the actors’ concentration. I would discuss with Quentin: Is the interruption significant enough to disrupt audience connection? If not, we’re okay. Quentin dislikes fixing things later; he wants authenticity from the set, making my job even more challenging.”

The Oscar Experience

Though awards aren’t the ultimate goal, Ulano describes receiving his Oscar for Titanic as surreal:

“It was like stepping through the looking glass—suddenly, you’re part of something monumental, watched by a billion people. It’s life-changing recognition from your peers, who genuinely understand your craft.”

While making Titanic, nobody knew how successful it would become. “There was speculation it might fail badly. Then it resonated globally, becoming much more than just a movie.”

Reflecting on his career and collaboration with Tarantino:

“My long relationship with Quentin embodies the ideal of a challenging filmmaking lifestyle. When working with him, there’s no political drama—only a unified spirit focused on the project. It won’t be easy—daily challenges arise—but it’s creatively satisfying.”

“Different directors demand different things. Some explicitly communicate their vision, while others expect crew members to intuit their intentions. Each new project requires curiosity, flexibility, and fresh eyes.”

Conclusion:

For Ulano, filmmaking is fundamentally live theater, capturing performances in real time, with imperfections embraced as part of the artistic process.

“The true reward isn’t the Oscar, but the opportunity to pursue our passion, alongside equally passionate people, despite the personal sacrifices often required. Ultimately, storytelling remains humanity’s oldest tradition—expressing history, morality, humor, and community aspirations.”