This article is the follow up to Part 1 of Ideas in Sound Design: Deprivation and Barriers. I’ve gathered a selection of media to discuss the ideas presented in the original article. I will focus on three films and one video game trailer: Saving Private Ryan, The Diving Bell and the Butterfly, Fight Club and Mass Effect 3′s Take Earth Back (extended version). I’d first like to state that the interpretations I’ll be outlining simply reflect my personal perspectives on the films and/or scenes in question. I do not present the single interpretation, merely a single interpretation. If you have an alternative view that adds to or diverges from mine, then I encourage you to say so and share with the rest of the community. Second, I do not mean to exclude mediums beyond the linear cinematic (hence my attempt, perhaps a weak one, to include games by the inclusion of the Mass Effect trailer). My selections were based on pieces with which I was familiar enough with to allow me to coalesce my thoughts in an expedient manner.

Finally, the ideas of “deprivation” and “barriers” are not exclusively the purview of sound editing or design. They belong to the mix as well. And beyond that, the director, the DP, the scriptwriter, etc…but that broad a swath is beyond the scope of this article. The point is that contributions to a piece’s depth come from many places. So, I credit the below examples to all of their respective principal sound artists (Supervising Sound Editor, Sound Designer, Re-Recording Mixers), to the best accuracy that I can.

Saving Private Ryan: Gary Rydstrom, Richard Hymns, Andy Nelson, Gary Summers

Let’s begin with the storming of Omaha Beach scene from Saving Private Ryan (Spielberg, 1998). This scene gives us the opportunity to look at deprivation from both visual and acoustic perspectives, and gives us two very overt acoustic barriers to examine.

The scene opens with, and sustains, close-up shots of the soldiers in their landing boats. We hear the sounds of artillery firing from a distance, and occasionally hear heavy splashes with water spray entering the shot. The closeup shots lock our perspective to the men in the boat. Those heavy splashes could just be the waves crashing against the boats, but they could also be the artillery shells landing in nearby water. Not allowing us to see the cause of the splashes adds tension to the scene. There is a perspective being established for the viewer that is going to carry through a large portion of this upcoming battle. A narrow field of view and a measure of immersion, a sense that we are subject to the whims of the setting…we have no control.

There are occasional ground eruptions, bullet trails, and injured men scattered about the beach. But for most of the scene, the audio is relied on to create the chaos of the battle. Simply look at the picture above. Imagine the soldiers moving through the water, simply wading onto the beach, with no gunfire. Most of the shots have a quality similar to that picture; similar composition (low to the water/ground, constricted field of view), and little to no visual evidence of the bullets cutting through the air. Yet the film presents constant gunfire, ricochets and explosions. Cluttering up the visual field on top of this auditory density would be too much data, but it goes beyond that. The bulk of our information about the environment is presented through sound, adding weight to two moments of auditory deprivation.

The first instance occurs after the soldiers escape over the sides of the boats. As they make their way to the beach, the camera moves in and out of the water. When the image drifts below the surface, the water becomes a physical barrier to the sound of the battle. That barrier helps to shield us, albeit briefly, from the surrounding chaos. Above the water, the number of threats is so great that they cannot be tracked…especially given the field of view with which we are presented. When submerged, the decrease in sonic activity gives the impression that the threats are mitigated. The water seems like a haven when compared to what awaits on the beach (despite the fact that people are dying in the water as well).

The second moment focuses on Captain Miller (Tom Hanks). A shell or mine explodes in the foreground of the frame, spraying dirt and bodies. As Miller stumbles in to dominate the frame a low-pass filter veils the sound of the battle, and we also hear a steady bed of sound, similar to what might be heard if you were to simply place your hands over both ears. The barrier here is physiological in nature; a reaction of the body to pressure of the explosion. You can even see the blood trickling out of Miller’s ears. This represents a dramatic shift in perspective for the viewer. Up until this point, we are a participant in the battle…situated immediately in the chaos. Now we enter Miller’s perspective, and personalize the experience of this terrifying scene. The timing is everything here. If the sonic barrier went up prior to Miller’s entrance, we would continue to be participants and have less understanding of Miller’s psyche. The sequence becomes a testament to his resolve, as the frequency spectrum comes flooding back with a soldier’s demand for orders. That soldier provides a focal point for him, one that allows him to reconnect with the surrounding events.

The barriers are given a presence within the narrative, they are tied to the events in the scene. Here the combinations of visual and acoustic deprivations, along with the nature of the acoustic barriers, afford us the opportunity to comprehend the terrifying nature of the battle and characterize a central figure in its narrative.

Mass Effect 3 – Take Earth Back (Extended Trailer): Sound team unknown [If anyone knows who handled it, please let me know so they can be credited.]

Click here to view the embedded video.

Because it also focuses on battle, this seems like a good time to examine the Mass Effect 3 (Bioware, 2012) cinematic trailer. The similarities between them, obviously, are passing and general in nature only. Both depict war, but the scope of perspective is different…and the sound designs establish discrete connections between the viewer and respective narratives. Here we are not meant to feel terror or understand the personality of a central character. This is an advertisement meant to create excitement for a product; excitement that is expected to lead to sales of the game.

When the attack begins, nearly 1 minute into the piece, we are presented focused sound elements that tie to specific moments in the visuals. The aural landscape is filled out with a montage of human reactions, news and radio report style dialog…none of which we see on screen. As the visuals continue, we begin to hear some of the same distancing and filtering that occurred with Captain Miller. We are given a brief aural cue of breathing as a pair crosshairs becomes the lens through which the action is viewed (1:02). We are temporarily being placed in the perspective of this lone sniper up in the Big Ben clock tower. Shifting to this perspective, however briefly, distances us from the struggle below…just as he is. Once we return to third-person, when this sniper occupies the frame, the visuals begin to immediately pull away from him as well. The sound design follows suit.

The density of aural activity increases greatly, coming closer to matching the density of visual activity. Simultaneously, the filtering becomes more pronounced…further distancing us from what is taking place. As I mentioned earlier, this deprivation is not meant to induce terror. The barrier, in this case, is an arbitrary construct created by the story-tellers. There is no justification within the narrative as there was in Saving Private Ryan. We are not placed in the events with these victims; we are meant to feel separate from the events. So we watch, and listen, from afar. The sensation created then is shock and horror. A horror that can then be heightened when we return to the little girl in the field of sunflowers (1:36)…the tranquil sound of insects, and the silent Reapers (alien warships) approaching. The Reapers are not truly silent. We already know what sound accompanies them. Depriving us of those sounds leaves us the ability to imagine what comes next; a far more powerful and personal interpretation of the coming violence.

The combination of presented and imagined atrocities leads way to anger, as a time lapse brings us to the aftermath in that field (2:03). Those sensations are what gives the ensuing battle weight and excitement. It creates a need for the battle to happen, a need for participation. That’s what is being offered to the viewer…a chance to participate. “Buy the game, and you can fight this battle…become salvation.” A similar setting, and even some similar techniques, to that in Saving Private Ryan, but a different purpose. What differentiates the two is how those choices in deprivations and barriers complement the visuals…how they tie to the narrative.

The Diving Bell and the Butterfly: Francis Wargnier, Damien Bera, Dominique Gaborieau

The Diving Bell and the Butterfly (Schnabel, 2007) presents something wholly focused within one character’s perspective. With two brief exceptions (one a dream, and one a flashback), the film spends the first 17 minutes in a form of perceptual purgatory. The effect is to lock us into Jean-Dominique Bauby’s (the main character) perspective and emotional experience. The camera frame never contracts or expands. We are subjected to viewing close ups and medium shots of characters that barely come into focus, and never quite become entirely visible within the frame.

Jean-Do is confused and struggling to establish a cognitive awareness of his surroundings. This barrier that both he and the viewer are fighting with is a mental and physiological one resulting from the stroke he recently suffered. The movement of those outside of his being exert control over the sounds we hear. As one character asserts dominance over the image, so too does he claim ownership of the aural. We hear the voice and movements of only that one character at a time. There are no background sounds, no room tone, barely perceptible sounds of that person’s clothing…only the figure in the foreground and Jean-Do’s voice. His voice is its own point of interest as well. He goes so far as to say, “I just did,” in response to a doctor’s repeated requests for him to name his children. The fact that he is not speaking had escaped him, for he seems to be able to hear his voice as clearly as the viewer does.

The effects of this restricted perception are extremely uncomfortable. The narrow field of vision, the depth of field, and the perception of only one acoustic being at a time firmly seat us within Jean-Do’s mental state. We are alone, tortured by a state of sensory deprivation, where the only tangible pieces of reality are those that come to the foreground of our limited vision. If we cannot see them clearly (as clearly as he is able to, that is), we cannot hear them. This combination is so effective that it is a noticeable relief when we are finally given a third-person view of his hospital room. Room tone and ambience suddenly appears, and the environment comes to life with the voices and bodies of health-care workers. There is a sense of release; and, in a way, the return of the acoustic world is a bit cathartic. This sudden re-emergence of sound signals the beginning Jean-Do’s new journey in life.

Fight Club: Ren Klyce, Richard Hymns, Michael Semanick, David Parker, Todd Boekelheide

Up to this point we have been discussing deprivations and barriers that have either solely affected the viewer’s perspective, or those that have connected both the viewer and the characters within the film. While it provides a number of similarly natured examples, Fight Club (Fincher, 1999) also gives us the opportunity to examine these ideas from exclusively within the diegesis. Our focus here is on Marla Singer (Helena Bonham Carter).

The two central characters are the narrator (Edward Norton), a character many people refer to as “Jack” (a convention which I will adopt here for simplicity’s sake), and Tyler Durden (Brad Pitt). As the central perspective of the film is the collective experience of Jack and Tyler, the viewer sees and hears from a position relative to them. Marla, as the third main character of the story, “suffers” from a barrier that deprives her of understanding the perspectives of Jack/Tyler and the viewer. This barrier is sanity. Marla is Jack’s “power animal.” She is both the trigger that spurs Jack and Tyler’s meeting, and the voice of reality attempting to enlighten Jack to his duality. The clues she gives come from apparent gaps in their perspectives of sensory information, the most overt of which are auditory…though “overt” may be too strong of a word.

I’m going to point out two examples. The first of which is when Jack is caught peering, through a cracked door, into the room where Tyler and Marla are having sex. Tyler whips open the door to tease Jack. The scene ends just after this conversation, but we are given one important exchange before it does. As Jack walks away, and Tyler turns back, Marla’s head pops up and asks, “Who are you talking to?” Tyler’s response? “Shut up.” Her question raises the spectre of revelation that Tyler is not yet willing to allow. It’s an innocuous enough question, but Tyler is the only one that understands what is going on. If he allows her to persist, it could lead to further questions from both her and Jack. It is one of the reason he forces Jack to swear never to talk about him with Marla.

The second example is when Jack and Marla are conversing in the kitchen. Jack asks her, “What are you getting out of this?” It’s a question that skirts along the edge of the forbidden subject matter…Tyler. As their conversation continues, spiralling directly towards the nature of their relationship, Jack begins to hear the sounds of construction from within the basement. They become an increasingly insistent distraction. He asks Marla if she can hear the sounds, but her response is a quip about “changing the subject.” Of course, to Marla it seems to be nothing more than a cheap excuse to do just that. She can’t hear the sounds that Jack can. It is a dangerous tactic on Tyler’s part to derail the conversation, as it highlights the gap in perception. Tyler needs the conversation to end quickly. He does not want them discussing him or their relationship, and he does not want the fact that only Jack can hear these sounds known. The latter may be a bit of a stretch in the context of Tyler’s self-assurance, but it is essential in terms of the narrative. The nature of Jack/Tyler can’t and shouldn’t be revealed just yet.

Marla’s sensory deprivation (albeit a subtle one) provides a series of clues to the viewer and Jack, leading to the revelation that Jack and Tyler are the same person. Jack remains oblivious to these clues until Tyler’s ambitions overwhelm his ability to manipulate Jack. As more people enter Jack’s life through Project Mayhem, the number of clues begins to increase rapidly. When Jack finally begins to understand what Tyler is, it is Marla that provides the final proof. She confirms his belief, and their history of shared experiences (including her expressed perceptions) takes on a different level of significance and impact.

Wrapping up…

I’ve gone through a number of examples, but I wish to reiterate a few points. Few of the elements in any of these examples operate independently as sonic experiences. They need help; from the visuals, script, the story and from the direction. The deprivations are complimentary of the inclusions, as they only gain meaning within the context of what is shown. The ideas of deprivation and barriers are a means of adding depth and dimension, imbuing meaning, within a narrative. Also, as I mentioned in the previous article, those meanings are personal in nature. If you do not “lay everything out” exactly as it should be, then you leave room for the viewer to interpret (I consider this a good thing). In light of that, I do not present the interpretations in this article to be hard and fast truth; these are the meanings that I derive from the editorial choices embedded within the films. I hope you will take the time examine these examples from your own perspective, and share your thoughts.

If you decide to write up your own thoughts on these scenes, or others, from the perspectives of Deprivations and Barriers, please let me know. I will happily compile a list of abstracts and links into their own post here in the future. I would love to see these ideas applied to other mediums as well. In particular, if any game audio gurus out there feel the desire to cover them from the aspects of interactive narrative and story-telling (and not game-play mechanics…unless it relates directly to the story, of course), I think that would be an article well worth reading. It would seem to be an enormous challenge though, since gaming by nature allows for less rigid control of the individual experience and requires far more active participation than film viewing. Impossible, no…merely difficult. Then again, perhaps that is merely attaching the tropes of another medium to one that is still developing its own language. Perhaps the “experience” is a more appropriate aspect to discuss. I look forward to any and all responses.

I’ve had two ideas take obsessive root in my brain recently. They’re not new concepts, nor are they new to me. My first introduction to them was 8 years ago now, but I find myself pondering them with the regularity that my dog wants food. [Now? Now?! ...........Nooooow?] They’re worth talking about in a public space, because I hope they’ll stimulate some engaging conversation in our community. There’s also the hope that said conversation will filter and focus these ideas into greater resolution for myself. If it helps others in the process, so much the better. These two concepts, as spoiled in the title, are deprivation and barriers.

I plan to cover these ideas over two articles. In this, the first, I’ll lay out my thoughts and musings on concepts introduced to me through the writings of Walter Murch and Michel Chion. They are two different arguments, yet I feel they are closely related and augment one another. In the second article, I’ll examine several scenes under the frameworks I present here.

The concepts (paraphrased):

1. Deprivation of sensory information causes the viewer to extract greater meaning from art. (Murch)
2. The Voice defines the barriers it transcends. (Chion)

Let’s begin with Walter Murch’s argument.

This is idea of his is one that I’ve seen pop up in several places. There’s mention of it in an article on FilmSound.org, in the foreword he wrote to the English translation of Michel Chion’s Audio-Vision…in fact, I’ve lost cost of the places I’ve seen him mention it. His argument stems from the idea that the more traditional forms of art (writing, painting, sculpture, music, etc.) are predisposed to stimulating a greater sense of meaning for their audience, due to the fact that they are deprived of a broader set of sensory stimuli. As an example, let’s take a moment to look at Edvard Munch’s “The Scream.”

image hot-linked from Edvard-Munch.com

Obviously, our example is a painting…art which contains only visual information. We have no acoustic information to work with, but we can extract impressions from the image. Beyond the explicit screaming character in the foreground…there is the indication of water and boats in the background, the walkway appears to be wooden, it is either dawn or dusk, and there is a pair of figures that share the space. All of these elements help us to mentally fill in the missing sensory information. We personalize the painting for ourselves, imagining: the timbre of the scream, what the surrounding space may sound like, or how the figures in the back left react to this vocal individual. Thinking about it further, would you actually imagine the foreground character screaming if the painting were not titled “The Scream?” We may find paths to multiple meanings and scenarios through these musings.

Often times, artists have a meaning that is embedded within their work, but that is merely their intention…their interpretation. One of my professors once said, “If someone identifies a meaning within your piece, it doesn’t matter if you intended it or not. If it can be found, it’s there.” Interpretation of art is a purely subjective act, and we draw our own conclusions…sometimes independent of those around us, sometimes considering their perspectives. If “The Scream” was a piece that provided more sensory information, there would be less room for individual interpretations as to its meaning. The more we know about the piece or it’s creator, the closer we may come to its intended meaning…but that makes it less personal. The less personal (or individual) the meaning, the less weight it carries for that individual.

Back to Murch.

We were talking about this idea that deprivation of sensory information can generate greater meaning and depth in a piece. This is where he points out an inherent weakness of film (post “The Jazz Singer,” 1927) as a medium. We have the ability to provide more information to the viewer, because we can present images, sounds and music. The combination of which can leave very little room for interpretation. [Let's hope things like "Smell-O-Vision" never become part of mainstream media production.] Now, you may be arguing that while we can do this, not everyone does. As with many things in our industry, he’s still way ahead of you…as he acknowledges that this is more of a tendency than a “Truth.” He is merely trying to point out that we have the ability to create greater depth by choosing what to present and what not to, and that better stories leave gaps to be filled in. It can be by presenting less than the image, more…or something that is altogether different…that depth is created.

This is where Murch’s idea begins to tie into Chion’s. The concept of deprivation in a film or audio-visual piece can be a tool within the narrative, not just its construction.

Chion introduces his concept of voices defining the barriers they transcend in his book, The Voice in Cinema. This is a somewhat narrow view, as I feel it can be applied to any sound that is obstructed in a story-telling medium. This is something different from the idea of sounds defining the “space” which they occupy. Sounds do define the phsyical and objective traits of a scene, but they can also define the perceptual and subjective traits of a scene. That subjective space is where we will find the barriers. A barrier can be any number of things: a physical object, a medium, a biological impairment, a mental or neurological process or a metaphysical concept.

Let’s consider the scenario of a sound emanating from the opposite side of a wall. If this were a clean sound being cut to picture in post-production, it could easily be filtered to provide a response that is natural to the real-world. In this case, the sound is defining both the physical space (that which it is occupying in a different room), and the physical nature of the wall. What if that sound were not filtered to mimic traditional physics? What would that do to your interpretation of the wall? It certainly wouldn’t be defining it’s physical characteristics anymore, but it would still be providing a definition regarding the separation between the two rooms.

This is where the two concepts begin to converge. We will still derive meaning from this “sound in another room” scenario, but the meaning will depend on what other information is present in the scene. Barriers afford us the opportunity to deprive information.; they can define what is constrained. Likewise, identifying what is deprived leads to an understanding of the nature of a barrier. They are not equivalent, but they are complementary. We have the opportunity to define one in terms of the other. These ideas provide a means for analysis…just another pair of tools in your box of aesthetic and story-telling techniques.

How can you use them to help define sound’s purpose within the narrative and contribute depth?

Comments and discussion are encouraged. I will be working on a follow up post, examining scenes from audio-visual media with these concepts in mind…though it may take some time. ;)

“The ultimate metaphoric sound is silence. If you can get the film to a place with no sound where there should be sound, the audience will crowd that silence with sounds and feelings of their own making, and they will, individually, answer the question of, “Why is it quiet?” If the slope to silence is at the right angle, you will get the audience to a strange and wonderful place where the film becomes their own creation in a way that is deeper than any other.”

- Walter Murch

Walter Murch will be talking about sound at Chicago Humanities Fest 2011. The event is scheduled for Nov 13. Price is $10 in general admission and $5 for students.

As a film editor and sound designer, Walter Murch has worked on classic films of our time, includingApocalypse Now, The Godfather, and The English Patient, among many more. The winner of multiple Academy Awards, Murch, with his technological know-how, has helped to elevate the art and impact of film sound to a new level. His latest projects, which include editing Phil Kaufman’s Hemingway & Gellhorn and directing an episode of Lucasfilm’s animated Clone Wars, are quintessential Murch: eclectic, distinctive, and visionary. In conversation with Lawrence Weschler, CHF artistic director emeritus, Murch discusses the evolution of film technology from the creation of the 5.1 sound format to today’s Final Cut Pro.

via @pulsetrain

Click here to view the embedded video.

Click here to view the embedded video.

On a related note, here’s an interesting recent interview with Coppola on Risk, Money, Craft & Collaboration.

I think it’s generally misleading  to say, “Well, that sequence had eighty tracks, it must be great.” Ideally, for me, the perfect sound film has zero tracks. You try to get the audience to a point, somehow, where they can imagine the sound. They hear the sound in their minds, and it really isn’t on the track at all. That’s the ideal sound, the one that exists totally in the mind, because it’s the most intimate. It deals with each person’s experience, and it’s obviously of the highest fidelity imaginable, because it’s not being translated through any kind of medium.

So, at a certain point, there were 160 tracks for Apocalypse. That is an awful lot, but on the other hand, if somehow I could have achieved the same effect with no tracks, I would have been more impressed.  Or one track. If there had been one sound that did all of that, so mysteriously, I would be more impressed. but what that means is: thinking very, very deeply, and being very, very lucky in getting exactly the right thing. And if you can do that, then the number of tracks is meaningless. But, generally speaking, it doesn’t happen very often, if ever, to get that one thing. That’s just an abstract ideal that I always strive for.

Continue reading…

Time to get yourself a new book, huh? Look at this:

“A fascinating behind the scenes look at the previously unexplored territory of horror film sound..
Through in-depth analysis of sound in the films of Dario Argento and discussions with leading practitioners, this book explores our inherent relationship with sound; examining how and why specific sounds are chosen and utilised to express and manipulate human perception and emotion.”

“Talent, initiative and attention to detail”

“Interesting and provocative”

SOUNDS TO DIE FOR – SPEAKING THE LANGUAGE OF HORROR FILM SOUND

Part 1 - Discussions & Interviews

• Walter Murch
• Antonella Fulci
• Michel Chion
• Claudio Simonetti
• Claude Letessier
• Gary Rydstrom
• James Bernard

Part 2 - The Sound World of Dario Argento

• Deep Red
• Water:Bringer of Death
• Beware the ‘Raptus’
• Watcher in the Wind
• Symbolic Roots

• Suspiria
• Voice Behind the Curtain
• Great Wall of Sound

• Conclusion
• Footnotes
• References
• Recommended Reading
• Filmography
• Index

Via U.S.O Project

The Washington Post has published an article by film critic Ann Hornaday, who talks about the use of sound in film, specially the sound effects.

She talks about the importance and good use of sound in several films such as “Secretariat, “Buried”, “The American”,”Inception”, “The Social Network”, “Cast Away”, “Pearl Harbor” and more. This might be not too much new stuff for a person who already works on this field, but hey! is on The Washington Post!

In his film about Secretariat, the 1973 Triple Crown champion and one of the most famous horses in history, director Randall Wallace rose to that challenge in an unconventional way — he appealed to filmgoers’ ears, rather than their eyes. Even as the images in “Secretariat” would depict well-known events, Wallace decided, he would infuse the movie’s soundtrack with an almost subliminal tension. So as the chestnut colt — called Big Red through most of the movie — makes his way from the Kentucky Derby to the Preakness to the Belmont Stakes, discerning audiences can make out something beyond the roar of the crowd and thundering hooves: the sound of Secretariat’s heart beating.

Continue reading…

Via: Social Sound Design

The School of Sound has announced the release of a reprinted version of “SOUNDSCAPE: The School of Sound Lectures 1998-2001“, one of the most amazing books to read if you’re involved with sound design or sound in general.

SOUNDSCAPE is a compendium of presentations given during the first four years of the School of Sound investigating the modern soundtrack and the ways sound combines with image in both art and entertainment. Directors, sound designers, composers, editors, artists and theorists define and interpret their personal use of sound from both traditional approaches and radical new perspectives.

The contributors include directors David Lynch and Mike Figgis; sound designers Walter Murch, Owe Svensson and Randy Thom; composers Carter Burwell, David Burnand and Stephen Deutsch; producer Bob Last; theorists Laura Mulvey, Michel Chion and Ian Christie; critics Peter Wollen, James Leahy and Shoma Chatterji; screenwriter Phil Parker; filmmakers Mani Kaul and Amie Siegel; music producer Manfred Eicher; anthropologist Thanos Vovolis; and poet Tom Paulin. The contributors represent some of the most insightful people currently working with sound.

Key to each chapter is each speaker’s focus on working methods and creative thinking, investigating how sound is integrated into their practice and way of communicating. The presentations are remarkable in their breadth and depth of discourse, each one expanding the thinking about audio-visual production into unexpected and inspiring territory.

SOUNDSCAPE is available on Central Books. A separate US distributor will be listed soon.

Via: @schoolofsound

Some years ago, MPEG published a very interesting article of Charles Maynes talking about his approach on the use of the worldizing technique:

For some of us in sound and music circles, “worldizing” has long held a special sense of the exotic. Worldizing is the act of playing back a recording in a real-world environment, allowing the sound to react to that environment, and then re-recording it so that the properties of the environment become part of the newly recorded material. The concept is simple, but its execution can be remarkably complex.

In Walter Murch’s superb essay on the reconstruction of the Orson Welles film A Touch of Evil, he quotes from a 58-page memo that Welles wrote to Universal to lay out his vision for the movie. At one point, Welles describes how he wants to treat the music during a scene between Janet Leigh and Akim Tamiroff, and he offers as elegant a description of worldizing as I can think of:

The music itself should be skillfully played but it will not be enough, in doing the final sound mixing, to run this track through an echo chamber with a certain amount of filter. To get the effect we’re looking for, it is absolutely vital that this music be played back through a cheap horn in the alley outside the sound building. After this is recorded, it can then be loused up even further in the process of rerecording. But a tinny exterior horn is absolutely necessary, and since it does not represent very much in the way of money, I feel justified in insisting upon this, as the result will be really worth it.

At the time, Universal did not revise Touch of Evil according to these notes, but the movie’s recent reconstruction incorporates these ideas. Worldizing is now a technique that has been with us for some time and will likely be used and refined for years to come.

Continue Reading…