"A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later." - Stanley Kubrick
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Some pages are not to grow, this is one of them. It should be INTRO to filmmaking! Soundtrack? This is the last thing they should think about! Sounds -- yes. Music -- yes...
Andrey Tarkovsky: Sculpting in Time : Reflections on the Cinema Paperback: 254 pages *
Publisher: University of Texas Press; Reprint edition (April 1, 1989)
The idea behind the title of the book is that the film-goer goes to the cinema to experience time, and that the director's job is to sculpt the time that the audience experiences -- cut away the inessential words and seconds and pieces. This book is an introduction to the rules that Tarkovsky set for himself in achieving this goal.
"You can have a real nice looking short film, but if the sound is bad, the film itself comes across as bad. Nothing gives away a student film like the soundtrack. Budgets are tight, sure, but many student directors simply don't place any importance and give any thought to what their film sounds like." *
... 5-shot-story > jumpcut.com to add sound (mix) -- exerc. on duration and sounds (not music). See postproduction pages!
In mother-directory I have a page Sound, but in the post-production period the sound is a killer.
Why?
Because you didn't think about it at the time of preproduction!
[ I collect sounds and music way before I begin directing
(stage); I even place the sound files on my webpages to hear them as often as possible -- also I play the CDs, while I writing my notes for the show. ]
Tips on sound? I do not have this subtitle "tips" on my pages -- should I?
Summary
If you indeed can see your film before you shoot it, you must hear it too!
There are themes in your images; you must have corresponding "themes" in your sounds.
Questions
The best read on sound is in Herbert Zettl's book "Sight, Sound, Motion" ISBN 0534079520
The Five-Dimensional Field: Sound (333) * Literal and Nonliteral Sound Combination (in class). Sound Functions (341) and Aesthetic Factors (349)
Homework
Web-Sounds for DJ 2003 UAF; select some file and read this page with the sound bg -- change the file and see the (dramatic) effect of having different sounds for the same text.
Sound Tips *
Notes
Also, chapter 17 (Zettl): Structuring the Five-Demensional Field: Sound Structure and Sound-Picture Combinations (355)
Film Schools, Books, Links & my very deep film philosophy: POV
Sound websites -- links [ * ].
Eisenstein on Sound (Film Sense and Film Form). Eisen, Music, Concept (missing page):
TOPICS: drama + comedy + postmodern + time + space +
Artistic ID * Style * Story, Form & Genre * Screen Language * Projects * Script * Translation to the Screen * Directing the Frame * Subject Size * Angle * Perspective * Composition * Look * Movement * Continuity * Coverage * mise-en-scene * Casting * Rehearsal * Directing Actors * Audience * Expectation * Suspense * Surprise * Violence * Humor * Dynamic Dialogue Scenes * Static Dialogue Scenes * Group Dialogue Scenes * Tips * Documentaries & Experimental * scripts *
List the sounds in the segment from Chekhov's "The Lady with the Dog":
"I shall remember you . . . think of you," she said. "God be with you; be happy. Don't remember evil against me. We are parting forever -- it must be so, for we ought never to have met. Well, God be with you."
The train moved off rapidly, its lights soon vanished from sight, and a minute later there was no sound of it, as though everything had conspired together to end as quickly as possible that sweet delirium, that madness. Left alone on the platform, and gazing into the dark distance, Gurov listened to the chirrup of the grasshoppers and the hum of the telegraph wires, feeling as though he had only just waked up. And he thought, musing, that there had been another episode or adventure in his life, and it, too, was at an end, and nothing was left of it but a memory. . . . He was moved, sad, and conscious of a slight remorse. This young woman whom he would never meet again had not been happy with him; he was genuinely warm and affectionate with her, but yet in his manner, his tone, and his caresses there had been a shade of light irony, the coarse condescension of a happy man who was, besides, almost twice her age. All the time she had called him kind, exceptional, lofty; obviously he had seemed to her different from what he really was, so he had unintentionally deceived her. . . .
Here at the station was already a scent of autumn; it was a cold evening.
"It's time for me to go north," thought Gurov as he left the platform. "High time!"
IT was said that a new person had appeared on the sea-front: a lady with a little dog. Dmitri Dmitritch Gurov, who had by then been a fortnight at Yalta, and so was fairly at home there, had begun to take an interest in new arrivals. Sitting in Verney's pavilion, he saw, walking on the sea-front, a fair-haired young lady of medium height, wearing a béret; a white Pomeranian dog was running behind her.
Sound Tips *
