Great sound designers have created many wonderful effects that didn’t do any damn good because they were unsuccessfully shoehorned into sequences that didn’t have any room for them, no physical room and/or no story room.
By “no physical room” I mean they couldn’t be heard because there was too much competing sound, or not enough time in the scene for the sound to be wedged in. By “no story room” I mean that the sounds were basically non sequiturs. There was nothing in the story they could resonate with and/or the scene wasn’t structured visually and dynamically in a way that gave sound design a role.
The lesson is that sound design is not simply about fabricating sounds. The most important part of sound design by far is creating a story context for sound to do its job, and it’s tragic that we sound designers, sound editors, re-recording mixers, and production sound mixers typically have no opportunity to advise the writer or director about context until it’s too late.
Let’s change that. Production Designers and Cinematographers make script suggestions all the time, and on the set they tell the Director how setups can be altered to better use their crafts. Movies will be better when Sound people are fully a part of that collaboration instead of the caboose that gets dragged around behind everyone else.
See: Designing a Movie For Sound