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Posted by on Dec 31, 2012 | 1 comment

Thanks to our December Contributors

It’s been a great month here on Designing Sound! We took a gamble in November with the new monthly features format, and it’s been paying off in spectacular fashion. This site would not be so special without the support and contributions of the community it serves. A hearty round of thanks goes out to this month’s guests:

Tomorrow begins plug-in month. That’s a little vague, I know, but the full description of how and what we’ll be exploring is on its way. If you have something you’d like to contribute, don’t hesitate to get in touch. As you may have noticed, guest contributors are in good company!

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Posted by on Dec 22, 2012 | 7 comments

Nicolas Becker – Behind the Art

We’re getting very close to the end of 2012 and there’s been lots of brilliant sonic experiences in the cinema throughout the year. One that really stood out, though, was the latest adaptation of Wuthering Heights by the English director Andrea Arnold with wonderfully textured soundscapes created by the French sound designer Nicolas Becker. Nicolas has worked as a foley artist for several years and among his collaborators are prominent directors like Roman Polanski, Danny Boyle and David Cronenberg. During the last few years, though, he’s been much more of a sound supervisor and designer. In this interview he discusses working methods, how music inspires him and the exquisite sound world of Wuthering Heights:

Designing Sound: Could you describe your sound design philosophy? What’s sound design for you?

Nicolas Becker: I don’t have a particular sound design philosophy but I think each film should be taken as a prototype, fitting the entire sound process to each film. Working with conceptual artists was and still is very important for me in my approach. For them the artwork itself is not the only target, building a process, designing a trajectory that makes sense with the meaning and the artistic field of the artwork is their main concern. In the movie business the way the budgets are made, and the way the films are made is very industrialized; very normalized.

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