Analysis Of The Sound Designer I Decided Upon

At a very young age of eight, David Fincher’s passion for cinema grew when he was inspired by the movie Butch Cassidy and the Sundance Kid (1969). Born in 1962 Denver, Colorado, David Fincher moved to Ashland, Oregon in his teens, where he graduated from Ashland High School. During high school, he directed plays, designed sets, and managed lighting after school. One summer, he and a friend attended the Berkley Film Institute’s summer program, where he hoped to learn film as a true art form but instead was taught the technical production. Either way he was happy to engage is this and as his early film industry career started, he was a production assistant at his local television news station. Years went by as he directed propaganda films followed by becoming a well-known music director until his first movie feature debut Aliens 3 in 1992. However, the American director David Fincher didn’t become a modern 21st century visionary until his creation of the film Se7en (1995). The huge success from this film started Fincher’s popularity in the film industry. From there he continued to make ironic movies we know today such as: Fight Club (1999), Zodiac (2007), The Curious Case of Benjamin Button (2008), The Social Network (2010), Gone Girl, and The Girl with the Dragon Tattoo.

Sound is something quite special, impactful, and adds layers of elements and complexity to a film. As with the progression of the movie making medium, sound has grown and changed drastically over the decades. However, sound cues in the form of effects, dialogue, and everything in between, shapes our perceptions of a scene and movie.

Most successful musicians know a hidden art carried out by the work of a good sound engineer; it is essential for a magnificent album. For the rest of us novice listeners and fans, we believe what we hear through our speakers or played over the radio are the true skilled professional musicians, soaring at their craft. Most contemporary music, from pop to R&B and acid jazz to the sophisticated realm of orchestral film scores, has been modernized by several inventions encased within the studio. The art of audio engineering has taken on new forms, from the nuts and bolts, "plug it in, and see if it works" era into the digital world, because of these wonderfully tragic solutions to a

The Cutting Edge: The Magic of Movie Editing is a documentary about the art of film editing and the immensity of the job an editor is given. The reasoning of the film is to show the impact editing truly has on movies and our emotional attachment towards them. This documentary shows clips from different films to prove to it’s viewers the substantial effect editing has. Directors and editors speak out about the significance of editing, something not many viewers know nor think about.

Even though the film is essentially a visual experience, the use of sound has become extremely important in modern film. The modern viewer hears a complicated soundtrack that is as meaningful as the image on the screen. Three elements comprise the film's soundtrack: the dialogue, the sound effects, and the musical score. The proper balance and mix of these elements produced the essential emphasis required, which created the desired effects. As explained by Joseph Boggs and Dennis Petrie,

After watching and analyzing the action adventure film, Indiana Jones - “Kingdom of the Crystal Skull” (2008) and the Sci-Fi thriller, The Matrix (1999) many cinematic elements attracted my attention. With three very distinct and ingenious directors, (Spielberg and the Wachowskis siblings) these two films exemplified extraordinary uses of lighting, framing, editing and sound techniques unique to its own genre.

Kill Bill: Vol 1. (2003) is a film directed by, the famous, Quentin Tarantino. From start to finish, it is packed with action and excitement. This movie has a plethora of interesting elements. Yet the cinematography of Kill Boll: Vol 1. is one that makes history. Not only does it have camera angles unlike any others shown in a normal film, but it keeps the audiences’ attention. The unique choice of music adds originality to the film. For a movie with such a serious storyline, the music involved is quite quirky. Some would even say childish. Anyone who has seen a movie directed by Quentin Tarantino before will understand that adjustments like this are a reflection of his style. All of his work reveals that.

Along with background music, sound effects play more of a role on the way we feel than many moviegoers think, and "although the function of sound effects is primarily atmospheric, they can also be precise sources of meaning in film" (Giannetti, 225). When the

Sound and editing are quite possible the two stand-out aspects of all Edgar Wright’s films. The two go side-by-side and are an essential aspect of delivering a satisfying experience in modern day cinema. Wright’s films push the boundaries of what someone would consider the standard function of these two elements. Edgar Wright is one of the only people working in the visual comedy genre using a full range of what is possible and because of that, he can find humour in places that other people don’t look. Wright directs his scenes with a method that referred to as entering a scene later and leaving it early. He does this by using his trademark close up montages. These montages take a scene that would normally be up to 30 seconds long and reduces it to 3. It also falls into his style of visual comedy, taking mundane tasks and extenuating them with quick cuts. Another efficient way Wright tells his stories is with the clever use of background action. Instead of blankly exposition, he lets the visuals tell the audience everything they need to know. In Shaun of the Dead, there’s a scene where Shaun is going to the convenience store and is completely oblivious to the zombie apocalypse. He ignores people running for their lives, doesn’t look at red hand prints on the cooler doors and even slips on blood without even noticing. Nobody has to say anything. That’s because Wright trusts that his audience is smart enough to pick up on visual cues. Wright is also big on repeated dialogue

Editing is all about bringing a creative force into a film. The process could mean fixing a number of things like moving things around, meaning to arrange, select, and assemble - this goes for every component in the film. What you visualize, hear, with the use of special effects all are components that are edited and added to the film in a unique way to create a good story. The movie to be analysis is the film Forrest Gump with editor, Arthur Schmidt, he won an Oscar at the 67th academy awards for best film editing. Arthur Schmidt had three responsibilities as an editor in the film, which are spatial relationship, temporal relationship, and rhythm.

Two components that have an immense impact on the quality and caliber of a film are the editing and sound found within the film. These two aspects alone can make or break a film. In the film The Kings of Summer, directed by Jordan Vogt-Roberts, these two elements collaborate to highlight certain emotions and key moments in the film’s plot. Some of the sub-elements of these two components that can easily be identified within the film include the flashforward, the flashback, both nondiegetic and diegetic sound, semi diegetic sound, graphic matching and voice offs. Within the film The Kings Of Summer, editing and sound are methodically and tactfully utilized in order to produce a film that is both entertaining and meaningful for the audience.

While well-crafted sound design and sound effects are so very necessary in the creation of a film, music touches the emotion, the psyche, and the things you cannot see. Sound design and effects don’t do this nearly as efficiently and naturally. Without music it would be much more difficult to follow the emotional ups and downs of a film. (Freer)

Sound and editing are both very crucial concepts in film. In Tom Tykwer's Run Lola Run (1998), the way the narrative structure is set up can make the differentiation of diegetic and non-diegetic sound difficult for the viewer. The relationship between sound and the narrative structure, however, also makes the viewer more aware of the film's artificiality. In King Hu's Come Drink With Me (1966), we see how the major motifs of editing emphasize the unrealistic and fantasy qualities of the characters.

This time we will focus on the analysis of the sound of a film that, in addition, to be well achieved according to my personal appreciation, has been nominated for several awards for sound and has won some of them. It is then a proposal that, when like others, it is convenient to analyze and understand, to take from it what works best for us or interest, or for our future productions. For this I have chosen the feature film Pan’s labyrinth (2006) by director Guillermo del Toro; in charge of the sound Martin

When it comes to movies, many directors are good at their jobs. However, other directors are great in the art of film making. There is no doubt such statement is considered utterly subjective, but what would life be without subjectivity, for it is our differences that make us thrive against a monotonic existence. By the same token, Alfred Hitchcock and Christopher Nolan utilize their singularities to create films that for decades have impacted the movie making universe. In fact, it is their differences that provide us with a high contrast to compare and scrutinize their job and find what made them great at it.