Good writers are usually trying to gradually lead you to a place that will surprise you when you get there, but which is also a place you think you might have anticipated if you had paid attention to all the clues.
I think it should be one of our goals as sound designers to mirror and strengthen this effort with sound.
A great example from the past is Coppola/Murch’s “The Conversation,” where the master of sound, Harry Caul, finds himself mastered BY sound in the end. Sounds were his tools in a sense, but they increasingly become tools used against him. In the beginning he directs the aim of the “sound gun.” In the end it is aimed at him.
The story doesn’t have to be about sound or the perception of sound to the degree “The Conversation” is, of course, but the story should feel obliged to open doors to sound that will allow it to help propel the story, instead of being simply visceral or utilitarian which, unfortunately, are the only two roles it is usually offered.
https://www.imdb.com/title/tt0078259/fullcredits/?ref_=tt_ov_st_sm
Unfortunately, I posted the link to a secondary page, yet The Shout is a fascinating film based on the powers of sound, psychically ans physically.
Can you expound on this idea, maybe in another post? “the story should feel obliged to open doors to sound that will allow it to help propel the story, instead of being simply visceral or utilitarian which, unfortunately, are the only two roles it is usually offered.” Are you saying this should be done at the writing stage? What other roles would you like to see offered? How much of “the story should feel obliged” is the picture editor actually helping motivate? Check out my interviews with both the editors of “My Octopus Teacher” or “The Father.” You don’t have to read the whole thing, just search for “sound” in the interview
Hi, Stephen!
Yes, it should often begin with the script. One of the greatest examples is the opening of “Once Upon A Time In The West,” where the entire sequence was literally designed and shot based on sound effects.