You know he's a soundman, and the film never lets you off thehook, so after a while, you just begin to accept the fact that you, too,are a soundman and you, too, should consider that sound is important.
It's a combination that appealedto me and appeared to be a natural thing to do at the time, and I've nowbeen doing it so long that it seems second nature to me. An illustration of one aspect of my approach is that when I'm firstputting the images together--creating the first assembly of a film--I turnoff all the sound, even for dialog scenes.
Designing for sound by Randy Thom - History of film
But this isnt necessarily the case. The degree to which sound is eventually able to participate in storytelling will be more determined by the use of time, space, and point of view in the story than by how often the script mentions actual sounds. Most of the great sound sequences in films are "pov" sequences. The photography, the blocking of actors, the production design, art direction, editing, and dialogue have been set up such that we, the audience, are experiencing the action more or less through the point of view of one, or more, of the characters in the sequence. Since what we see and hear is being filtered through their consciousness, what they hear can give us lots of information about who they are and what they are feeling. Figuring out how to use pov, as well as how to use acoustic space and the element of time, should begin with the writer. Some writers naturally think in these terms, most dont. And it is almost never taught in film writing courses.
The Importance of Sound | Filmbase
The place can therefore become a character, and have its own voice, with a range of "emotions" and "moods." And the sounds of the mill can resonate with a wide variety of elements elsewhere in the story. None of this good stuff is likely to happen unless we write, shoot, and edit the story in a way that allows it to happen.
Experiencing Vietnam Through Movies | HistoryNet
Now they develop enormous and short-lived faith in the power and value of sound to make their movie watchable. Unfortunately its usually way too late, and after some vain attempts to stop a hemorrhage with a bandaid, the Directors head drops, and sound cynicism rules again until late in the next projects post production.
U.S. Navy PSYOPs -- Now at a Theater Near You! | HuffPost
But that doesnt describe very accurately what Ben Burtt and Walter Murch, who invented the term, did on "Star Wars" and "Apocalypse Now" respectively. On those films they found themselves working with Directors who were not just looking for powerful sound effects to attach to a structure that was already in place. By experimenting with sound, playing with sound (and not just sound effects, but music and dialog as well) all through production and post production what Francis Coppola, Walter Murch, George Lucas, and Ben Burtt found is that sound began to shape the picture sometimes as much as the picture shaped the sound. The result was very different from anything we had heard before. The films are legends, and their soundtracks changed forever the way we think about film sound.
Bruce Willis - Biography - IMDb
Likewise, the "time border" between the "little boy" period and the "grown-up" period offers us lots of opportunities to compare and contrast the two worlds, and his perception of them. Over a transition from one period to the other, one or more sounds can go through a metamorphosis. Maybe as our guy daydreams about his childhood, the rhythmic clank of a metal shear in the mill changes into the click clack of the railroad car taking him back to his home town. Any sound, in itself, only has so much intrinsic appeal or value. On the other hand, when a sound changes over time in response to elements in the larger story, its power and richness grow exponentially.