Have a listen to this classic radio documentary from NPR in the US. Howard Dully’s Story:
Sound designers – consider all the storytelling elements. The interview and narration, the location interviews, the environment, atmosphere tracks, soundtracks, found footage. Field, ground and subject. What are the relationships between all these elements as the story progresses? Think also about transitions and levels.
Some good reference videos from your presentations this week…
Peter White who will be taking us through basic lighting principles and camera setups has suggested visiting the Australian Cinematographers Society ( ACS )- find them on facebook.
Here is a link to an upcoming event. Tickets are cheap and these sorts of q and a’s are an invaluable source of education for all of us:
https://www.facebook.com/austcine/posts/1229390420423547
Here are some quotes out of the Walter Murch playbook:
“It (sound) should strive to create a purposeful and fruitful tension between what is on the screen and what is kindled in the mind of the audience. The danger of present- day cinema is that it can suffocate its subjects by its very ability to represent them: it doesn’t possess the built-in escape valves of ambiguity that painting, music, literature, radio drama and black-and-white silent film automatically have simply by virtue of their sensory incompleteness — an incompleteness that engages the imagination of the viewer as compensation for what is only evoked by the artist.” Walter Murch
“By comparison, film seems to be “all there” (it isn’t, but it seems to be), and thus the responsibility of filmmakers is to find ways within that completeness to refrain from achieving it. To that end, the metaphoric use of sound is one of the most fruitful, flexible and inexpensive means: by choosing carefully what to eliminate, and then adding back sounds that seem at first hearing to be somewhat at odds with the accompanying image, the filmmaker can open up a perceptual vacuum into which the mind of the audience must inevitably rush.” Walter Murch
Starving the eye will inevitably bring the ear, and therefore the imagination, more into play …
This week we are discussing sound design and starting the process of creating our shooting scripts and schedules. With PB 3 looming on the week 7 horizon make sure you are spending time engaging in creative sketching and experimenting. There are plenty of studio activities to get going on. Make them count. Aim them towards your film concept and never stop looking for that single inspired idea that might just pin the whole project together.
We watched videos of Walter Murch imparting his seemingly endless wisdom on the post production process and we analysed some of his work in the films Apocalypse Now (1979) and Rumble Fish (1983). We also looked at David Lynch’s Eraserhead (1977), famed for its foreboding, industrial and dystopian sonic atmosphere. Next week we will pick up on some more examples from these same filmmakers and further scrutinise a complex scene/sound structure.
Can you think of any scenes or films where a strong conceptual sound design is used? Blog about it!
Here are the videos we looked at:
Take a look at the presentation slides for ‘Let Us Play’. The least dark narrative out of the bunch.. though somehow still a bit creepy. Imaginary friends always pop up in ghost movies..
Take a look at the presentation slides for “Juvies”. Good job team.
This week we saw two more pitches both of which went really well. We also did updates on the scripts and story concepts. As we move into week 6 and then to week 7 it is important that we are suring up preproduction and all aspects of preparation. This means providing me with finished working scripts (they can still change – but we need a locked in structure and direction) story boards, location photo’s and any visual material you might be putting together in research (video experiments such as lighting, blocking action or editing). It is also time for the producers to start collecting any information and applications you might need regarding locations, equipment, personnel, budget (what sort of money might you need for any production design, food etc?), transport, and coordinating minuted group meetings.
More meetings and minutes later.
Keep your eye on the activities page as I will be adding exercises for planning and creative experiments.
We will be starting in on sound design next week and having one – on – ones to work through the above points.
As you continue to work towards your productions remember that the whole purpose of this course is to keep your eyes on the prize. What was it that you wanted to achieve in film? What is it you want to say? What do you want to see and hear when the lights go down and everyone focusses in on the theatre screen? Continue to research and evolve your ideas towards your original goal. Preparation and research is everything! This research and preparation is what will make up your PB 3.
Regarding PB 3, I will be publishing some more pointers and notes on what is expected so keep your eyes on this space.
In week 4 we saw some fantastic pitches. Not all got through but that is OK. This is the process we need to get used to as filmmakers. It’s not about having one good idea. Instead, it’s about a consistent and evolving creative practice and vision, and the ability to bring your collaborators along for the ride.
In week 5 we’ll be seeing some updated and revised pitches and getting an update on those projects that got greenlit.
Have a look at some of the great presentation preparation and research. The following mood boards helped us get the tactile feeling and approach of this expressionist short… Enfants Curieux
TIM – pdf of the pitch for ‘The Melancholy Tale of a Sad, Dark, Brooding Fan’
FamilyPortrait – pdf for the pitch for ‘Family Portrait‘
Finding Love in Hell PITCH – pdf for the pitch for ‘Finding Love in Hell‘
Remember:
For those who are keen, this is a funding competition open to international entries. Go for it! Submissions close April 4.