Silence, however we choose to embrace it, is the sound of our imagination and we can use it creatively to our advantage.
Randy Thom’s assessment of what makes 'sound design heaven' (stylised visuals, sparse dialogue and sparse music) lead me to a simple conclusion.
Here for Life is a documentary drama directed by Andrea Luka Zimmerman (Erase and Forget, Estate: A Reverie) and Adrian Jackson (Cardboard Citizens).
The Living Thames is a 60-minute documentary that I completed the sound design and mix for. I don’t mix very often, and the less you do it, the longer it tends to take when you do.
In a previous post I wrote why I love the philosophical aspect of what I do. The second thing that really excites me is grabbing some microphones, grabbing a recorder, and going out into the world to capture the sounds needed for a project. These are often, though not always, the sounds that will make the difference between an ordinary ‘okay’ soundtrack, and something that feels just right and exciting to the viewer, and that brings whatever story is being told, to life.
The common aesthetic though is to not do that, and so when we embark on a journey of creating sound design and music, we are obviously making choices. Those choices should be important.
Daydream and Drunkenness is the first time I’ve mixed binaurally, and the thing I found is that results have a lot to do with intention, I think. Well, for me, at least.
At the beginning of a project, when ideas first begin forming and preparatory work is undertaken, this philosophical trait is at its most febrile.