Friday, April 10, 2009

Have I gone mad for actually thinking Pride and Predator could be a good movie? Honestly, the thought of seeing screaming British accented chicks in exquisite early 19th century dresses get slashed up by Predator as they scream "Oh goodness no!" and stage blood geysers from their stumps makes me want to hysterically fall over laughing on the floor. This is where comedy needs to go. It's either self aware and pretentious or foul and raunchy nowadays, it needs to go to complete and utter absurdist slapstick goofiness. I want comedy films that look like live action Tom and Jerry cartoons.

Getting up to business, I thought I'd take some time to actually describe the new sound mixes for Little Red Riding Hood and Dream House. Little Red Riding Hood has been cleaned up. The dialogue and on-set sound effects are still intact, but the majority of the foley has been replaced by much stronger, more effective sound work and most of the film's background noise has been replaced with better, cleaner tone.

Dream House had much messier sound to begin with since the GL2 is a manual audio camera. It's not hard to get good sound out of a point and shoot and even though a manual audio camera can yield far better results, not used properly it will be completely unusable. I didn't factor this in and thus a lot of the onset dialogue was rickety. Most of the foley has been scrapped and replaced, more tone has been used and Kevin James has relooped most of his performance in the film. I'm also hiring a young actress to redub Kate very soon. The new Dream House's greatest attribute is its new effect: the ghost has its own "sound", which is ambient white noise mostly derived from machinery.

I love movies that use ambient noise in their sound mix to inspire fear and disorientation. The Exorcist is a fantastic example, as are David Lynch's films especially Eraserhead. Another favorite of mine is the "musical sound" score of Toru Takemitsu for Masaki Kobayashi's Kwaidan (Takemitsu also used creepy ambient noise for Teshigahara's Woman in the Dunes and Face of Another as well). Though Yoshio Miyajima's lustrous cinematography greatly makes Kwaidan such a compelling visit to the ghostly world of Lafcadio Hearn's old Japan, Takemitsu's always unnerving audio effects make the film stand in your subconscious in just as much of a vivid fashion. Since Nicky was heavily inspired by the Japanese female ghosts, including Kwaidan's own Yuki Onna (Snow Woman), I figured I'd go all the way with the effect. Interestingly enough, I got the idea to use white noise for the sound of the ghost without even remembering the paranormal associations made with white noise. I just thought it was creepy.

1 comment:

Anonymous said...

Glad to hear everything is coming together on the project, good luck man.