Least tar and nicotine cigarettes. A woman who survived a real life bear attack has slammed a depiction of a mauling in the film The Revenant saying Leonardo DiCaprio's character got off 'very lightly indeed'. Allena Hansen, 64. Hugh Glass (c. 1783 – 1833) was an American frontiersman, fur trapper, trader, hunter, and explorer.He is best known for his story of survival and retribution, after being left for dead by companions when he was mauled by a grizzly bear. Mar 03, 2016  So, to break down how a bear attack unfolds, he studied videos of actual maulings, including, notably, the horrifying amateur video of an attack at.

• The Revenant Bear Attack Wounds

The Revenant Bear Attack Wounds

The river, the battles, that bear. Most distinctly that bear. The sound editors and mixers on “The Revenant,” about a frontiersman’s battle for survival, had many elements to consider when crafting the sonic universe of the punishing 19th-century West in Alejandro G. Iñárritu’s film. Their work has paid off with several Oscar nominations.

Martín Hernández (nominated with Lon Bender for sound editing on the film) has collaborated with Mr. Iñárritu since they were D.J.s together in college. On both “Birdman” and “The Revenant,” he experimented further with surround sound. “The Revenant” puts viewers in the middle of the woods both with a roving camera and immersive audio. And while the natural sounds of insects and birds are part of the mix, the audio for certain objects was enhanced for additional effect.

“The camera may pass by a fallen tree,” Mr. Hernández said in a phone interview. “A fallen tree doesn’t make any sound, but we put in a resonance, a frequency there, something that would make you feel there is a weight on that object.”

Experimentation was important, but the sound experts faced major challenges for the crucial sequence in which the main character, the frontiersman Hugh Glass, is mauled by a bear. They brought in Randy Thom, director of sound design at Skywalker Sound, who has earned multiple Oscar nominations and two trophies. He is nominated here for mixing along with Jon Taylor, Frank A. Montaño and Chris Duesterdiek. Mr. Thom pulled from Skywalker Sound’s large library of bear sounds to create the mix in that scene.

“What the bear does visually is so complex and varies over time,” Mr. Thom said. “She’s breathing, coughing, salivating, moaning, roaring, snarling, calling to her cubs. Every moment is different.”

Mr. Thom said he drew on roughly 50 recording sessions, mostly of bears. But in a few moments, he had to resort to other animals.

When Hugh shoots the bear, which continues to maul him, “we needed to make it clear that the bear was in distress,” Mr. Thom said. “And I didn’t have any recordings of hurt or injured bears. But I did have a recording of a horse that was sick and having problems breathing.”

But how to convincingly add in a completely different animal without it being distracting or sounding odd? Cerere de lichidare.

“The main trick that I used was to introduce some of the horse breathing elements before the bear gets shot, but at a very low level compared to the bear breathing elements,” he said. “And then I gradually increased the level of the horse breaths relative to the bear breaths, so that by the time the bear wanders off screen, it’s almost entirely this sick horse you hear breathing. Then every third or fourth horse breath, I would replace with one of the more familiar bear breaths from earlier.”

Mr. Thom also used a couple of camel vocalizations to conjure up a bear drooling. And when the bear sticks its nose down to the camera and breathes on it, fogging the lens, Mr. Thom recorded himself breathing.

“I couldn’t find any recordings of bears breathing that were quite that close,” he said. “I’m a fairly big guy, so that helps.” He pitched the recording down an octave to make it feel bigger and more fierce.

“I can turn into a fairly credible bear if I need to,” he said.