For this one, we had to come up with something that would feel incredibly tense in the upfront and then really find a way to throw a curveball in the musical portion so that the sound design could help enhance the danger in a more comedic way. The ball had to become the antagonist and the teetering on the edge had to feel dangerous. When we couldn’t find a musical solve for the end portion, the sound designer created a sound scape with the bus falling down the mountain to take you through the titled. Everything you hear was created through foley or through our days on set.