▁gives ▁access ▁to ▁the ▁c is tern : ▁" which ▁is ▁the ▁giant ▁set ▁that ▁we ' re ▁shooting ▁now , ▁and ▁in ▁which ▁Pen ny wise ▁has ▁his ▁w agon ▁and ▁on ▁top ▁of ▁which ▁there ' s ▁a ▁p ile ▁of ▁all ▁the ▁clothes ▁and ▁to ys ▁of ▁the ▁dead ▁k ids ▁over ▁the ▁many ▁centuries ." ▁The ▁vor tex ▁of ▁dead ▁children ▁was ▁also ▁a ▁creation ▁of ▁Mus chi etti ▁and ▁Par é , ▁with ▁floating ▁being ▁a ▁" met ap hor ▁for ▁dying ," ▁according ▁to ▁Mus chi etti . ▁Par é ▁had ▁to ▁get ▁down ▁to ▁log istics ▁with ▁convers ations ▁taking ▁place ▁about ▁how ▁many ▁bodies ▁would ▁be ▁floating , ▁as ▁well ▁as ▁the ▁speed ▁at ▁which ▁the ▁children ▁were ▁spin ning ▁around , ▁with ▁Par é ▁remark ing : ▁" We ▁didn ' t ▁want ▁to ▁go ▁over ▁a ▁year ▁worth ▁of ▁k ids , ▁because ▁all ▁the ▁k ids ▁that ▁would ▁have ▁been ▁dead ▁would ▁have ▁been ▁e aten ▁in ▁the ▁ 2 7 ▁years ▁that ▁Pen ny wise ▁was ▁away ▁So ▁the ▁k ids ▁of ▁that ▁era ▁are ▁basically ▁a ▁reserve ▁for ▁the ▁next ▁ 2 7 ▁years ." ▁ ▁Sound ▁design ▁Chris ▁Jenkins ▁and ▁Michael ▁K eller ▁were ▁sound ▁engine ers ▁for ▁the ▁film , ▁task ed ▁with ▁sound ▁mixing , ▁while ▁sound ▁editor ▁Victor ▁Ray ▁En nis ▁super vised ▁the ▁process . ▁Director ▁Mus chi etti ▁was ▁clear ▁unto ▁the ▁sound ▁engine ers ▁about ▁every ▁aspect ▁of ▁the ▁sounds cape , ▁especially