The Audio Of The Movie Beauty And The Beast

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.

In the realm of entertainment, Disney leads the way with creativity, bringing to life fairytales and stories that only the most imaginative child could come up with. Children of all ages, teenagers, and adults leave the theater of a Disney movie inspired, empowered, and entranced by the magic and wonder brought 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,

The three leads in this musical are Maxime Prissert portraying the hulking Shrek, Dylan Jackson portraying the estrange Donkey, and Maddy Mackarey portray the loving Fiona. The accents put on by every single one of these character were perfect they just lessened the projection and vocal clarity at times. They did an excellent job with vocal interpretation.

For example, the people filming the movie sometimes had the camera far away, which would then make the lines that the characters said harder to hear. If the camera was too close to a character's face, it was displeasing to look at, like when Johnny was in the hospital. Also, when watching the whole movie, it was hard to concentrate on the actual movie because I was too distracted on the voices to music ratio. Typically in a motion picture, the music is lowered enough so that the lines can be heard, while having it be loud enough for the audience to hear it, and bring the point across that it's an important moment to have that type of music. To give an example, in Ponyboy’s dream, it was very quite, then all of a sudden, extremely loud music and sounds erupted as I struggled to cover my ears, and I couldn’t pay attention to what was happening on screen because of all the piercing noise! Then, when Ponyboy woke up it was all normal volume that barely transitioned. There were a lot of other scenes that did the same exact thing, such as when Johnny went to back to his house and the volume of the parents fighting in the background almost cancelled out the other important lines and music. There are other problems than this particular one, some being no music at some points when it was most likely necessary to get the emotions that the characters were feeling across, or when the characters lines and volume were so quiet that you could barely to not hear them at all, or when the outside wind was so deafening to pay attention to anything else. It was somewhat comical to me every time one of these moments occurred, because it seems the creators didn’t care enough to fix

It is usually pre-recorded and placed over the top of a film or video and commonly used in documentaries or news reports to explain information. Focusing on selected sounds can create tension, atmosphere, and emotion. It can also impart personality to film characters. Walter Murch (the doyen of sound designers) once described the character sounds (in a film he directed) as "coronas" which can magnify each character' s screen space. A figure who is associated with a particular sound (often suggested by his or her clothing), has "a real presence that is pervasive even when the scene is about something else or the character is off-screen."

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.

In my opinion, the sounds effects just added a sense of proximity to the scene. The sound of the thunder and the rain established the mood for the scene really well. Other effective sound effects were rather simple, but highly effective. Some examples of these were the horses' feet stomping on the ground, the horses neighing, and the clinks and clangs of the samurai's armor and weapons. These were effective because they made you feel as if you were standing just a few feet from them. Another good sound effect was the `twang' of the bow when one of the samurai shot an arrow into the tree tops. Immediately after the arrow was fired, an evil spirit is heard laughing. Even though the laugh itself was pathetic, it was a nice touch to make you feel for the lost samurai. Throughout the whole scene, you almost always hear something, whether it's the horses, the samurai's equipment, or people talking; making sound very important in this scene.

In addition to the practical work of recreating a soundtrack of a Wallace & Gromit clip, a learning report on the subject had to be submitted. The soundtrack needed to be created by using a type of sound design known as Foley. Other than that, dialogue, wild track and music had to be added as well. Afterwards, these sounds would be synced to the video track and adjusted accordingly. “Sounds are vibrations traveling through the air as sound waves” Apple Inc. (2010). “Big sound waves have what's called a high amplitude or intensity and we hear them as louder sounds” Woodford (2009). If we add more gain to the sounds of lower intensity we risk adding noise to them and ruining the recording, this is known as signal to noise ration.

Another example of sound is Hitchcock's use of voice over. For instance, as Marion drives away with the money she ha stolen, she imagines conversations between the people she has left behind and their reactions to her faults. Hitchcock also uses sound, which doesn’t complement the image that we see. Whilst the on screen

The sounds and music in this film are very realistic, and to the point. There is not anything abstract or out of place, and everything is very appropriate. The

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.

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.