Costa Rica celebrates a historic moment in cinema history as Felipe Pacheco, a sound and music editor based in Los Angeles, receives an Oscar nomination for his sound editing work on Ryan Coogler’s multi-Oscar winning film “Sinners.” The recognition marks Pacheco as Costa Rica’s first-ever nominated below-the-line talent, breaking new ground for the Central American nation in technical filmmaking categories. Pacheco moved to Los Angeles after earning a degree in film scoring at the prestigious Berklee College of Music, where he developed the technical foundation that would later propel his career. His journey from music student to Oscar nominee spans years of dedication. He collaborated with some of cinema’s most respected filmmakers throughout that time.

The sound editor’s extraordinary credits showcase the breadth of his work across both blockbuster franchises and critically acclaimed independent projects. His filmography includes Christopher Nolan’s epic Imax 70mm blockbuster “The Odyssey” and the Oscar-winning “Oppenheimer,” along with “Star Wars: The Mandalorian and Grogu” and Coogler’s “Black Panther: Wakanda Forever.” In television, Pacheco worked on Ben Stiller’s “Severance,” which earned him an Emmy nomination. The combination of formal training at Berklee and linguistic versatility positioned him for unique opportunities. His willingness to embrace challenging assignments opened doors that might otherwise have gone to more established editors.

Collaboration With Academy Award-Winning Composer

Throughout many of these projects, Pacheco worked closely with Academy Award-winning composer Ludwig Göransson, a partnership that began with a specific linguistic need. The composer first brought Pacheco on board when the team needed a Spanish-speaking music editor for the numerous Spanish songs featured in “Black Panther: Wakanda Forever.” This initial collaboration proved successful enough that Göransson invited him to join subsequent high-profile projects. The relationship demonstrated how specialized skills, combined with technical excellence, can create opportunities in competitive Hollywood environments. His bilingual capabilities distinguished him from other candidates and provided entry into elite production circles.

The transition to Pacheco’s next major assignment happened with remarkable speed and intensity. After finishing work on “Black Panther” on a Friday, Göransson called that same weekend with urgent news. The composer needed Pacheco to start on “Oppenheimer” the following Monday. Pacheco expected to join a team of music editors, but instead he suddenly found himself working alongside Nolan, learning the director’s process on the fly. The experience proved intimidating, especially as a young Costa Rican in such rarified company. His reflection suggests that not knowing what he didn’t know may have worked in his favor. Sometimes fresh perspectives bring value precisely because they aren’t constrained by industry conventions. Everything came together during that trial by fire, which explains why Nolan invited him back for the director’s next film.

Reinventing Epic Sound for ‘The Odyssey’

That next film became “The Odyssey,” where Nolan presented the music team with an unconventional creative challenge. The director wanted to avoid the traditional orchestral sound often associated with historical epics, asking Göransson to blend ancient Greek instruments with modern elements like synthesizers. The approach created a score that reflected a contemporary retelling of an ancient story. For the music team, this directive represented a major creative hurdle. Without the emotional power of strings or brass, they had to reinvent how the music conveyed intimacy and scale. They relied on flutes, percussion, and constant experimentation to achieve the desired effect. Pacheco described the process as “an absolute nightmare” that proved “shockingly successful.”

The unconventional approach required the team to think differently about every aspect of the musical landscape. Ancient Greek instruments possess distinct tonal qualities that don’t naturally provide the sweeping emotional crescendos audiences expect from epic cinema. Synthesizers had to fill emotional gaps without overwhelming the authentic period elements. The team experimented with layering techniques, using modern technology to enhance rather than replace traditional instrumentation. This balance between historical authenticity and contemporary storytelling sensibility defined the entire sonic identity of the film. The creative risk paid off, contributing to the film’s critical and commercial success.

Collaborative Approach to ‘Sinners’ Sound Design

Pacheco found a different kind of creative satisfaction in his Oscar-nominated work on “Sinners,” which featured numerous on-set performances and brought him into the production process from pre-production stages. The film featured substantial live musical performances that required coordination between multiple departments before cameras rolled. The production team brought Pacheco in early because the musical elements were integral to the storytelling. The entire music team worked directly with actors, teaching them how to play instruments, how to sing, and drilling them on all the songs featured in the film. The approach ensured authentic performances rather than relying on post-production fixes or dubbing.

“Working on ‘Sinners’ was fun because it had a lot of on-set performances so they brought me in even from pre-production,” Pacheco recalls, emphasizing the highly collaborative nature of the job with significant overlap between the music, dialogue, and sound mixing departments.

The collaborative structure of “Sinners” required Pacheco to work closely with the production sound team throughout filming. Unlike traditional post-production sound work where editors receive finished footage, this project demanded real-time problem-solving on set. Musical performances captured during principal photography needed immediate technical attention to ensure they could be properly integrated later. The overlap between music, dialogue, and sound mixing departments created both challenges and creative opportunities. When departments coordinate closely from the beginning, they can craft a more cohesive final soundscape. This approach contrasts with typical workflows where each department works in relative isolation before combining elements late in post-production.

Breaking Ground for Costa Rican Film Professionals

Pacheco’s Oscar nomination carries significance beyond his personal achievement, representing a breakthrough moment for Costa Rican representation in Hollywood’s technical categories. Below-the-line talents rarely receive the same recognition as directors, writers, and actors, making this nomination particularly meaningful. Costa Rica, while possessing a vibrant local film culture, has historically lacked representation in major international film awards. This nomination could inspire a new generation of Costa Rican sound designers, editors, and other technical professionals to pursue careers in global cinema. The recognition demonstrates that talent from smaller film markets can compete at the highest levels when given opportunities to prove their abilities on major productions.

The path Pacheco traveled from Berklee College of Music to Oscar nominee illustrates several important factors in building a successful below-the-line career. Specialized skills, particularly linguistic capabilities, can create unique value propositions in a competitive market. Willingness to take on challenging assignments, even when intimidating, builds both experience and professional relationships. Working with top-tier collaborators like Göransson and Nolan provides education that no formal training can replicate. His success story offers a blueprint for other emerging talents from underrepresented regions seeking to break into Hollywood’s technical ranks.

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