In order fully to explore Ingmar Bergman’s distinctiveness as an acoustic auteur, a crucial aspect of his artistic process remains to be addressed – his role in the sound studio. Though countless interviews have featured Bergman’s actors, cinematographers, editors, and lighting technicians, the irony is that his sound crews have remained virtually silent. What was Bergman’s sound-editing process? What can we glean from first-hand accounts about his working methods during sound studio sessions? How much control did he assert in a typical sound session? How much leeway did he give his sound technicians in making their own decisions?