Another example. There is a scene in the film in which Pili suffers an HIV induced migraine. We were playing around with ideas on how to compliment and heighten this effect through sound. Again, insects came into play again. We begin by establishing the insects and part of the natural sound of the scene, as part of the natural ambience. They then begin to orchestrate the subtext of the scene, the emotional mis en scene to heighten the audience’s connection and understanding. As the migraine worsens, these insects start to shift from naturalistic, to score and morph to a throbbing, electric tone, raising in level and pitch with the intention of the migraine. As the moment passes, these insects disperse to become naturalistic again; a mere subconscious part of the ambience of the scene.
As I touched upon at the start of this post, film is an incredibly subjective medium, each project will have its own bespoke approach that works for one but may not for another. However, what doesn’t change is the way we approach the medium; it’s always driven by the story. Be it through music, atmospheres, foley or any other subsection of the soundtrack, the pallette of sounds will change, its function will differ, but it’s always there to support, and heighten story.
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