One of the first films that I through of as a point of research is Black Swan, in terms of the similarities in the degenerative psychological states of the characters. As well as that because of the elements of the sound design inspired by/used to emulate Tchaikovsky's Swan Lake (One of my favourite pieces of music) it was only natural that it was one of the first films I thought of to analyse its sound design.
The excerpt of Craig Henighan, sound designer for Black Swan, is great because of the way he explains the hows and the whys of the sound decisions he's made. Also there are a lot of factors that he talks about that mirror what me and Neil have discussed in the past when we were starting to think about the sound design. For example: Building up the sound, only to bring it back down again to silence/almost silence, or bring it up to a level of intolerance, only to pull it back - playing with the dynamics.
Like Ridley, Black Swan starts off in the here and now, as we explore a little bit of his reality, before it takes a tumble down the rabbit hole and into a world of uncertainty. When Craig talks about being making "this regular everyday movie that was just a little bit left of centre" I feel that we can exploit the same premise with Ridly by using sounds that are slightly off key and borderline creepy in between sounds of normality, to sort of unsettle the audience and give then cause for concern/foreshadowing danger.
What Craig says about using sound to push the story forward is something that I really need to keep in mind because mostly the benefits and the overall power that a good sound design can have, is often forgotten or back shelved.
Overall this clip gave me a lot to think about as well as a range of ideas to bring to the table.
No comments:
Post a Comment