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Before we were born,
you're looking at darkness.
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Sound is the first sense
that gets plugged in.
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00:00:50,320 --> 00:00:52,920
Six months, seven months
into the womb.
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00:00:53,000 --> 00:00:54,800
It's hearing the mother's heartbeat.
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00:00:54,880 --> 00:00:56,800
It's hearing her breathing.
6
00:00:56,880 --> 00:01:00,200
It's hearing Dad
shouting from the garage...
7
00:01:04,040 --> 00:01:06,000
It's making sense of the world.
8
00:01:14,240 --> 00:01:17,520
You have emerged
into a kind of consciousness
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00:01:18,040 --> 00:01:19,800
using only sound.
10
00:01:21,680 --> 00:01:23,560
And then you're born.
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00:01:27,280 --> 00:01:32,000
Sound affects us in a deeper way
almost than image does.
12
00:01:32,080 --> 00:01:33,480
It goes deeper.
13
00:01:41,560 --> 00:01:42,840
Oh.
14
00:01:49,160 --> 00:01:52,720
And yet, we're naturally,
seemingly oblivious to that.
15
00:01:54,760 --> 00:01:57,280
Film sound
is an illusionary art,
16
00:01:58,320 --> 00:02:01,000
as if you're just hearing
the natural sounds...
17
00:02:03,840 --> 00:02:05,960
happening in the world on screen.
18
00:02:10,120 --> 00:02:11,640
It's subliminal
19
00:02:11,720 --> 00:02:14,680
and a purely emotional way
of thinking about a movie.
20
00:02:19,600 --> 00:02:21,800
It's stealthy, sound work.
21
00:02:21,880 --> 00:02:23,840
It's flying under the radar.
22
00:02:25,520 --> 00:02:27,560
It's understated.
23
00:02:30,040 --> 00:02:33,320
But what sound adds
to the picture
24
00:02:33,960 --> 00:02:38,840
is so exhilarating
that I just was hooked,
25
00:02:38,920 --> 00:02:41,760
and pretty much never looked back.
26
00:02:43,240 --> 00:02:45,680
You're depressed, it's not working,
then the sound design comes in...
27
00:02:45,760 --> 00:02:48,400
The feeling of scale
that the sound was giving...
28
00:02:48,480 --> 00:02:52,800
And I think that sound, in many ways
is more tied to imagination.
29
00:02:55,760 --> 00:02:59,840
If you're born to be artistic,
sound is going to be part of the deal.
30
00:02:59,920 --> 00:03:02,320
It's part of being human.
31
00:03:02,400 --> 00:03:04,600
Movie is sight and sound.
32
00:03:04,680 --> 00:03:06,800
You only express it
with sight and sound.
33
00:03:10,400 --> 00:03:13,840
People always talk about
the look of a film.
34
00:03:13,920 --> 00:03:18,000
They don't talk so much about
the sound of a film.
35
00:03:19,040 --> 00:03:21,840
But it's equally important,
sometimes more important.
36
00:03:21,920 --> 00:03:25,440
I am not an animal.
37
00:03:25,520 --> 00:03:28,240
The point is to convey an emotion.
38
00:03:30,960 --> 00:03:33,000
Everything is in service of that.
39
00:03:42,800 --> 00:03:45,280
And sound is half of the experience.
40
00:04:00,360 --> 00:04:02,760
I've always been of the belief that
41
00:04:02,840 --> 00:04:06,520
our ears lead our eyes
to where the story lives.
42
00:04:13,360 --> 00:04:15,440
When designing sound on a film today,
43
00:04:15,520 --> 00:04:17,640
like "Saving Private Ryan",
44
00:04:17,720 --> 00:04:21,480
you're bringing together a rich
complex orchestration of sounds.
45
00:04:22,520 --> 00:04:25,200
On every film I've worked on
with Steven Spielberg,
46
00:04:25,280 --> 00:04:28,480
he gives a gift of
here's a scene, here's a moment,
47
00:04:28,560 --> 00:04:32,240
and I'm counting on sound
to help tell the story. Here you go.
48
00:04:44,840 --> 00:04:46,240
What strikes me most about,
49
00:04:46,320 --> 00:04:48,520
especially the opening
of "Private Ryan",
50
00:04:48,600 --> 00:04:50,600
is that it was designed to use sound
51
00:04:50,680 --> 00:04:53,080
to tell a part of the story
it's not showing you.
52
00:04:55,120 --> 00:04:57,680
So a scene like that
fully takes advantage
53
00:04:57,760 --> 00:05:02,400
of how a soldier takes in war,
which is a pretty narrow point of view.
54
00:05:04,000 --> 00:05:06,080
Move. Move.
55
00:05:06,880 --> 00:05:09,000
Sound got to handle the scale of it.
56
00:05:09,080 --> 00:05:11,440
We spent a lot of time
on that first 25 minutes.
57
00:05:11,520 --> 00:05:15,720
It was weeks and weeks
of just balancing all the sound effects
58
00:05:15,800 --> 00:05:17,480
that Gary and his crew provided.
59
00:05:23,320 --> 00:05:27,160
I kind of came up with
a certain pattern or rhythm
60
00:05:27,240 --> 00:05:33,360
of cutting these machine guns
for the background battle.
61
00:05:35,760 --> 00:05:38,560
So that there was
some form to this battle.
62
00:05:41,600 --> 00:05:44,480
There's always a rhythm.
Even to chaos, there's a rhythm.
63
00:05:48,200 --> 00:05:50,240
Point of view is great for sound
64
00:05:50,320 --> 00:05:53,480
because it allows you
to go inside the head.
65
00:05:55,640 --> 00:05:57,240
So I designed a sequence,
66
00:05:57,320 --> 00:05:59,760
where when an explosion
hits near Captain Miller,
67
00:05:59,840 --> 00:06:01,880
all the sound goes out.
68
00:06:02,680 --> 00:06:04,680
That came from an actual veteran
69
00:06:04,760 --> 00:06:07,320
that told me
that was how it affected him.
70
00:06:08,280 --> 00:06:11,120
So it put you
deep inside his experience.
71
00:06:15,480 --> 00:06:18,200
If you look at it,
it never has, until the battle is over,
72
00:06:18,280 --> 00:06:23,920
a wide shot, that gives you a grand
scale "Longest Day" style of D-Day.
73
00:06:24,000 --> 00:06:25,520
It doesn't do it.
It's all very intimate.
74
00:06:27,120 --> 00:06:30,320
And very importantly,
there's no score.
75
00:06:30,400 --> 00:06:33,400
John Williams would've done a beautiful
score with a whole different feeling,
76
00:06:33,480 --> 00:06:37,000
but without score
it tells you this is real.
77
00:06:39,480 --> 00:06:42,000
When the score comes in,
the score is often used...
78
00:06:42,080 --> 00:06:44,240
I think of it as like a life raft.
79
00:06:44,320 --> 00:06:47,160
You have an emotional moment
and the score comes in.
80
00:06:47,240 --> 00:06:49,360
It just gives you
something to hold onto.
81
00:06:58,560 --> 00:07:01,480
These different
elements of sound in movies...
82
00:07:01,560 --> 00:07:04,880
music, sound effects and voice,
83
00:07:04,960 --> 00:07:07,560
are similar to the instrument groupings
of an orchestra.
84
00:07:11,720 --> 00:07:14,160
But film sound work
wasn't always like that.
85
00:07:15,320 --> 00:07:19,360
You know, with dozens of sound editors
editing thousands of tracks.
86
00:07:22,600 --> 00:07:25,640
It ultimately took people
like Ben Burtt on "Star Wars"
87
00:07:25,720 --> 00:07:28,040
and Walter Murch
on "Apocalypse Now",
88
00:07:28,120 --> 00:07:30,240
to get us
to the full immersive soundtrack
89
00:07:30,320 --> 00:07:33,120
that the audience has come
to expect in movies today...
90
00:07:34,040 --> 00:07:38,040
created by a team of sound artists,
a circle of talent.
91
00:07:38,600 --> 00:07:40,280
No!
92
00:07:40,880 --> 00:07:43,760
But when it all started,
movies were silent.
93
00:07:52,640 --> 00:07:56,000
Mary had a little lamb
Its fleece was white as snow
94
00:07:56,080 --> 00:08:00,080
And everywhere that Mary went
The lamb was sure to go
95
00:08:00,160 --> 00:08:01,520
The invention of the phonograph
96
00:08:01,600 --> 00:08:04,440
was a monumental step
for humanity.
97
00:08:04,520 --> 00:08:06,960
We could now capture sound forever.
98
00:08:08,600 --> 00:08:12,640
Edison originally developed
the motion picture camera
99
00:08:12,720 --> 00:08:16,480
because he wanted images
to go along with his phonograph.
100
00:08:17,720 --> 00:08:20,440
So the audio came first.
101
00:08:20,520 --> 00:08:22,440
But picture works
at one speed.
102
00:08:22,520 --> 00:08:24,240
Sound is at another.
103
00:08:25,760 --> 00:08:27,760
They had no way to put it in sync,
104
00:08:27,840 --> 00:08:30,480
which is why
the whole project was abandoned.
105
00:08:31,840 --> 00:08:34,360
They were just so eager
to put sound to movies
106
00:08:34,440 --> 00:08:36,880
because everybody knew
this would elevate the experience.
107
00:08:38,680 --> 00:08:41,920
Films were projected
with a full live orchestra.
108
00:08:42,000 --> 00:08:45,320
They could be projected
with people talking behind the screen.
109
00:08:46,520 --> 00:08:47,920
There were actually people
that travelled around
110
00:08:48,000 --> 00:08:50,800
doing sound effects
live to silent films.
111
00:08:52,880 --> 00:08:55,880
There's films like "Wings"
when it played in New York,
112
00:08:55,960 --> 00:08:58,160
and its big premieres,
it had performers on stage
113
00:08:58,240 --> 00:09:00,840
doing live sound effects
for airplane engines,
114
00:09:00,920 --> 00:09:04,680
and using percussion instruments
for the boom of artillery and explosions.
115
00:09:05,560 --> 00:09:08,080
They could do wind,
galloping horse hooves...
116
00:09:10,520 --> 00:09:14,680
There just wasn't technically a way
of capturing and recording the sounds,
117
00:09:14,760 --> 00:09:17,240
and attaching them
to the movies yet.
118
00:09:19,120 --> 00:09:20,720
Until 1926.
119
00:09:20,800 --> 00:09:23,920
Warner Bros. did "Don Juan"
with John Barrymore.
120
00:09:25,400 --> 00:09:28,640
It actually had
a synchronised music track,
121
00:09:29,760 --> 00:09:32,800
which was mechanically connected
to a projector.
122
00:09:38,600 --> 00:09:43,200
Then in 1927, they actually
recorded dialogue on the set,
123
00:09:43,280 --> 00:09:46,520
and so "The Jazz Singer"
had spoken portions of it.
124
00:09:47,520 --> 00:09:49,600
♪ Toot, toot, Tootsie, goodbye
125
00:09:51,080 --> 00:09:53,320
♪ Toot, toot, Tootsie, don't cry
126
00:09:54,520 --> 00:09:57,040
Warner Bros. Theater
in New York City,
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00:09:57,120 --> 00:09:59,000
where "The Jazz Singer"
is now playing,
128
00:09:59,080 --> 00:10:01,520
is sold out
for many weeks in advance.
129
00:10:01,600 --> 00:10:05,280
What struck people most
was Al Jolson's speaking voice,
130
00:10:05,360 --> 00:10:06,600
not his singing voice.
131
00:10:06,680 --> 00:10:09,160
That he spoke
was revolutionary to audiences.
132
00:10:09,240 --> 00:10:10,720
That's what they wanted to hear.
133
00:10:10,800 --> 00:10:12,760
Wait a minute. Wait a minute.
134
00:10:12,840 --> 00:10:14,440
You ain't heard nothing yet.
135
00:10:14,520 --> 00:10:15,800
Wait, I tell you.
136
00:10:15,880 --> 00:10:17,880
You ain't heard nothing.
137
00:10:23,280 --> 00:10:25,920
It was a gigantic sensation,
138
00:10:26,000 --> 00:10:29,120
so Hollywood
was faced with what to do now.
139
00:10:29,200 --> 00:10:33,040
They had developed a way
of shooting movies without sound,
140
00:10:33,120 --> 00:10:35,240
and that involved
certain freedom on a set
141
00:10:35,320 --> 00:10:38,760
to be in a noisy place
because it didn't matter.
142
00:10:38,840 --> 00:10:41,360
Suddenly, there was this revolution
when they had to start
143
00:10:41,440 --> 00:10:43,720
entombing the productions
in sound stages,
144
00:10:43,800 --> 00:10:45,960
so all sound was blocked out
from the outside world.
145
00:10:47,760 --> 00:10:50,800
All right. Here we go. Quiet.
146
00:10:50,880 --> 00:10:52,000
Quiet.
Quiet.
147
00:10:52,080 --> 00:10:53,360
Roll 'em.
148
00:10:53,440 --> 00:10:56,320
But the microphone's
ranges were so short,
149
00:10:56,400 --> 00:10:58,280
the actors couldn't even move.
150
00:10:59,480 --> 00:11:02,840
She's got to talk into the mic.
I can't pick it up.
151
00:11:05,000 --> 00:11:07,400
Don't you remember,
I told you,
152
00:11:07,480 --> 00:11:11,560
there's a microphone right there,
in the bush.
153
00:11:14,080 --> 00:11:15,880
It was very limiting.
154
00:11:23,760 --> 00:11:25,800
Cut.
155
00:11:25,880 --> 00:11:31,440
But despite
the limitations, audiences loved sound.
156
00:11:32,200 --> 00:11:35,360
And I think it's because even
in the sound of a human voice,
157
00:11:35,440 --> 00:11:36,840
we carry emotion.
158
00:11:36,920 --> 00:11:38,400
Antonio?
159
00:11:38,480 --> 00:11:41,240
Nein, nein, nein!
160
00:11:41,320 --> 00:11:43,280
It's alive!
161
00:11:47,600 --> 00:11:49,600
But the addition
of the voice was not the only thing
162
00:11:49,680 --> 00:11:52,200
that changed in movies at that time.
163
00:11:52,280 --> 00:11:53,680
Filmmakers began to realise
164
00:11:53,760 --> 00:11:56,400
that sound effects were also
an important part of cinema.
165
00:12:00,440 --> 00:12:04,120
They discovered that you
don't get all the sound effects you want
166
00:12:04,200 --> 00:12:06,520
by just hanging a microphone
out over the set.
167
00:12:06,600 --> 00:12:08,160
The sounds aren't there.
168
00:12:09,200 --> 00:12:13,280
So this is where slowly
the idea of the sound editor evolved...
169
00:12:14,200 --> 00:12:16,800
to add sounds after the fact.
170
00:12:18,440 --> 00:12:20,520
There's fire, explosions,
171
00:12:20,600 --> 00:12:22,800
barnyard animals.
172
00:12:22,880 --> 00:12:24,120
Cars and...
173
00:12:24,200 --> 00:12:25,200
Motorcycles.
174
00:12:25,280 --> 00:12:28,360
Different from buses,
different from trains.
175
00:12:28,440 --> 00:12:31,240
With a bit of wind in the background
and this rain...
176
00:12:34,600 --> 00:12:37,520
As sound editors,
we create a sound world
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00:12:38,040 --> 00:12:40,600
independent of what got recorded
at the time of shooting.
178
00:12:48,640 --> 00:12:51,320
But it isn't probably till
you get to "King Kong",
179
00:12:51,400 --> 00:12:53,520
that you could actually call
it sound design.
180
00:13:00,880 --> 00:13:03,840
Many techniques
we use to manipulate sound today
181
00:13:03,920 --> 00:13:06,480
were pioneered on that film.
182
00:13:06,560 --> 00:13:10,080
The bulk of it is all about
characters that don't exist
183
00:13:10,160 --> 00:13:14,160
so Murray Spivack had to get creative
to find the right sound.
184
00:13:15,960 --> 00:13:20,200
I went to the Selig Zoo at the time.
185
00:13:21,240 --> 00:13:23,640
I got all the roars I needed.
186
00:13:24,480 --> 00:13:28,240
I then slowed those down
to half speed,
187
00:13:29,680 --> 00:13:36,920
and I played the tiger growl backwards
against the lion roar forward.
188
00:13:37,480 --> 00:13:40,360
And it gave me
a sort of an uncanny roar.
189
00:13:43,040 --> 00:13:46,040
These sound design tricks
are still used today.
190
00:13:46,600 --> 00:13:48,840
And that was a big step forward.
191
00:13:49,680 --> 00:13:52,800
But Murray Spivack operated
outside the system.
192
00:13:53,360 --> 00:13:56,520
He was locked away
in the music department,
193
00:13:56,600 --> 00:13:58,600
and no one knew
what he was doing.
194
00:14:00,320 --> 00:14:03,680
I think they felt the studio would say,
"Don't bother with all that,"
195
00:14:03,760 --> 00:14:06,960
if they knew the kind of effort
he was putting into it...
196
00:14:08,760 --> 00:14:11,520
because the studios
had their own collections
197
00:14:11,600 --> 00:14:15,040
and their own stock sound effects.
They would repeat them.
198
00:14:15,120 --> 00:14:18,080
They wouldn't change them
over the years.
199
00:14:18,160 --> 00:14:20,560
Each studio had its own ricochet...
200
00:14:21,640 --> 00:14:25,280
and face punch and explosion.
201
00:14:27,160 --> 00:14:30,560
If they worked successfully, they'd be
kept and used over and over again.
202
00:14:37,920 --> 00:14:39,280
Ow.
203
00:14:39,360 --> 00:14:43,560
They were just expected to get
something in there and on budget.
204
00:14:46,840 --> 00:14:49,960
But some of
the biggest innovations in film sound
205
00:14:50,040 --> 00:14:51,840
actually had their roots in radio.
206
00:14:51,920 --> 00:14:57,760
Who knows what evil lurks
in the hearts of men.
207
00:14:58,440 --> 00:14:59,840
"The Shadow"or"The Whistler"...
208
00:14:59,920 --> 00:15:02,160
any of those shows
were fun to listen to.
209
00:15:02,920 --> 00:15:05,120
The sound brought it to life.
210
00:15:06,640 --> 00:15:08,920
Doors opening and closing,
and footsteps.
211
00:15:10,320 --> 00:15:12,000
Come in.
We'll go in the kitchen.
212
00:15:12,080 --> 00:15:15,000
It's not Marlo playing
chef again. What is it this time?
213
00:15:16,160 --> 00:15:20,440
I remember lying on
the floor in front of the radio console.
214
00:15:20,520 --> 00:15:25,640
I thought, "When I grow up,
I'm gonna make footsteps like that."
215
00:15:25,720 --> 00:15:29,400
Your imagination could dramatise
what you were hearing.
216
00:15:29,480 --> 00:15:32,520
I just thought it was really great.
It was great for your imagination,
217
00:15:32,600 --> 00:15:35,000
great for your creative spirit,
and so forth.
218
00:15:35,880 --> 00:15:39,560
An innovator here
was Orson Welles.
219
00:15:39,640 --> 00:15:43,360
He was very adventuresome
in sound perspective.
220
00:15:44,520 --> 00:15:46,720
Now the smoke's crossing
6th Avenue,
221
00:15:47,400 --> 00:15:48,960
5th Avenue...
222
00:15:49,040 --> 00:15:50,760
A hundred yards away...
223
00:15:54,920 --> 00:15:57,320
So when he did "Citizen Kane",
224
00:15:57,400 --> 00:16:02,120
he brought those techniques
in sound from radio to film.
225
00:16:02,200 --> 00:16:03,920
Rosebud.
226
00:16:05,200 --> 00:16:07,640
By being as aggressive
spatially with sound
227
00:16:07,720 --> 00:16:10,440
as he was with his depth of focus
on camera.
228
00:16:10,520 --> 00:16:13,360
Charlie, what time is it?
229
00:16:13,440 --> 00:16:14,920
11:30.
230
00:16:15,000 --> 00:16:16,520
In New York?
231
00:16:17,960 --> 00:16:19,200
Hm?
232
00:16:20,080 --> 00:16:23,640
This idea that
every space has its own signature.
233
00:16:25,040 --> 00:16:27,280
The sound energises the environment.
234
00:16:27,360 --> 00:16:31,000
Now in complete control
of the government of this state.
235
00:16:32,120 --> 00:16:36,640
And you can use even
very refined elements of reverberation
236
00:16:36,720 --> 00:16:38,440
to help you tell your story.
237
00:16:40,320 --> 00:16:43,800
But this was
a new innovation for sound in film.
238
00:16:43,880 --> 00:16:46,400
The norm from the 1930s to the 1960s
239
00:16:47,040 --> 00:16:49,680
was to emphasise music
over sound effects.
240
00:16:50,560 --> 00:16:53,800
Why don't you say it, you coward?
You're afraid to marry me.
241
00:16:53,880 --> 00:16:55,440
You'd rather live
with that silly little fool
242
00:16:55,520 --> 00:16:57,400
who can't open her mouth
except say, "Yes", "No"
243
00:16:57,480 --> 00:16:59,840
and raise a passel
of mealy-mouthed brats just like her!
244
00:16:59,920 --> 00:17:01,920
You mustn't say things like that
about Melanie.
245
00:17:02,000 --> 00:17:03,600
Who are you to tell me I mustn't?!
246
00:17:03,680 --> 00:17:06,520
But if you run music
all the time in the film,
247
00:17:06,600 --> 00:17:10,120
it has a cumulatively
counterproductive effect.
248
00:17:10,200 --> 00:17:11,960
Constantly injecting steroids.
249
00:17:20,240 --> 00:17:22,880
But if you want unrelieved tension,
250
00:17:22,960 --> 00:17:24,560
don't use any music at all.
251
00:17:28,840 --> 00:17:32,080
Hitchcock got the power of sound.
252
00:17:32,160 --> 00:17:35,480
He actually essentially
dictated a sound script.
253
00:17:36,320 --> 00:17:39,680
And he really incorporated
the use of the sound
254
00:17:39,760 --> 00:17:42,200
into the concept of the film.
255
00:17:59,560 --> 00:18:01,960
Hearing their
breaths and feeling the impacts
256
00:18:02,040 --> 00:18:06,360
and the hits, they kept you very
connected right with the characters.
257
00:18:08,400 --> 00:18:11,160
That was a scene
where it worked really well,
258
00:18:11,240 --> 00:18:12,960
just having effects on their own.
259
00:18:16,000 --> 00:18:17,840
David Lean focused on sound.
260
00:18:20,280 --> 00:18:22,080
Stanley Kubrick focused on sound.
261
00:18:30,320 --> 00:18:33,800
But the studios weren't
encouraging of that kind of thing.
262
00:18:36,000 --> 00:18:39,520
The Hollywood studio
system often had a built-in approach
263
00:18:39,600 --> 00:18:42,040
to film sound
that was controlled and traditional...
264
00:18:46,000 --> 00:18:48,680
parallel to filmmakers
making the same kind of movies
265
00:18:48,760 --> 00:18:50,160
over and over again.
266
00:18:50,240 --> 00:18:51,840
♪ Pillow talk
267
00:18:51,920 --> 00:18:55,400
♪ Girls, girls, girls, girls
268
00:18:55,480 --> 00:19:00,040
♪ Beach Blanket Bingo,
that's the name of the game
269
00:19:01,600 --> 00:19:04,760
It was looked upon
as like a factory.
270
00:19:04,840 --> 00:19:08,800
And that tends to restrict
the adventuresomeness,
271
00:19:08,880 --> 00:19:11,200
especially in a studio environment.
272
00:19:12,360 --> 00:19:15,400
So the Hollywood films
I'd seen as a kid growing up
273
00:19:15,480 --> 00:19:18,280
didn't make me want
to become a filmmaker.
274
00:19:18,360 --> 00:19:21,920
To my way of thinking,
they were corporate creations.
275
00:19:26,720 --> 00:19:28,560
But when I was 10,
276
00:19:28,640 --> 00:19:32,200
I learned that there was such a thing
as a tape recorder.
277
00:19:33,720 --> 00:19:38,600
And I understood intuitively
what it did and how it did it.
278
00:19:39,480 --> 00:19:41,920
Enemy tripod machines now in sight.
279
00:19:42,000 --> 00:19:45,360
I would record from the radio
onto the tape recorder.
280
00:19:45,440 --> 00:19:47,440
"War of the Worlds"
by H.G. Wells.
281
00:19:47,520 --> 00:19:51,680
And then cut the tape into pieces,
and then rearrange the pieces
282
00:19:51,760 --> 00:19:55,400
and tape them in a different order
than they were recorded,
283
00:19:55,480 --> 00:19:58,600
flip them upside down
and play them backwards,
284
00:19:58,680 --> 00:20:00,320
and hear what that sounded like.
285
00:20:03,960 --> 00:20:08,440
And then I came back from school
one day and turned on the radio,
286
00:20:08,520 --> 00:20:11,240
and I was disoriented for a moment
287
00:20:11,320 --> 00:20:14,120
because I heard something
coming out of the radio,
288
00:20:14,200 --> 00:20:17,240
that sounded like
what I had recorded the day before.
289
00:20:20,760 --> 00:20:25,680
And it was a record made in France
of musique concrète
290
00:20:25,760 --> 00:20:28,760
by Pierre Henry and Pierre Schaeffer.
291
00:20:31,240 --> 00:20:36,800
That was a revelation to me,
that there were people in the world,
292
00:20:36,880 --> 00:20:39,920
French people,
doing what I was doing.
293
00:20:40,000 --> 00:20:42,840
And they were making records of it.
294
00:20:46,240 --> 00:20:50,840
And so I suddenly saw what I was doing
had a broader application.
295
00:20:55,000 --> 00:20:59,720
I loved Ingmar Bergman films
at age 15,
296
00:20:59,800 --> 00:21:01,320
and I loved Kurosawa...
297
00:21:03,000 --> 00:21:07,640
because the imprint of the personality
of these filmmakers was very strong.
298
00:21:13,960 --> 00:21:18,560
In 1963,
I went to a university in Paris,
299
00:21:18,640 --> 00:21:22,520
studying for a year
right at the height of the New Wave.
300
00:21:22,600 --> 00:21:25,320
I saw Jean-Luc Godard's film
"Breathless"
301
00:21:25,400 --> 00:21:29,040
and I could tell that rules
were being broken.
302
00:21:29,120 --> 00:21:34,280
♪ Pa-pa-pa-pa-pa-pa
Patricia, Patricia
303
00:21:35,280 --> 00:21:37,280
And that got me excited.
304
00:21:38,080 --> 00:21:40,320
I got injected with the film bug,
305
00:21:41,360 --> 00:21:43,400
and went to USC.
306
00:21:47,040 --> 00:21:48,920
I met Walter Murch in film school.
307
00:21:49,000 --> 00:21:51,640
He was a graduate student;
I was an undergrad.
308
00:21:51,720 --> 00:21:55,800
It was very easy to make friends.
That was part of the fun of being there.
309
00:21:55,880 --> 00:21:58,720
It was only
when I got to film school
310
00:21:58,800 --> 00:22:03,360
that I realised
that you have to do to sound in film
311
00:22:03,440 --> 00:22:07,160
the very kinds of things that I was doing
with these random sounds
312
00:22:07,240 --> 00:22:09,200
that I recorded back in the early '50s.
313
00:22:11,840 --> 00:22:14,200
Walter was coming up
with different sound ideas
314
00:22:14,280 --> 00:22:16,920
and running tracks backwards.
315
00:22:18,040 --> 00:22:20,520
Basically, that's all he was doing,
creating soundtracks.
316
00:22:22,000 --> 00:22:25,920
But it was
an unusual time to go to film school
317
00:22:26,000 --> 00:22:29,840
because television was killing film.
318
00:22:31,360 --> 00:22:34,880
President Kennedy has been shot
in Dallas, Texas.
319
00:22:34,960 --> 00:22:36,880
The '60s were
a time when we were focused
320
00:22:36,960 --> 00:22:38,960
on what we saw on television
and the news.
321
00:22:40,880 --> 00:22:45,000
I think it was a most powerful
civil rights protest.
322
00:22:49,000 --> 00:22:55,120
Full of unrest
and politics, Hollywood felt out of sync.
323
00:22:57,000 --> 00:23:00,160
I want to hear nothing more
about this troublemaker.
324
00:23:02,720 --> 00:23:05,760
It was rock and roll
and musicians like The Beatles
325
00:23:05,840 --> 00:23:08,280
that were capturing
culture's imagination...
326
00:23:10,280 --> 00:23:12,720
more than film.
327
00:23:14,360 --> 00:23:17,880
And that year
was the absolute bottom
328
00:23:17,960 --> 00:23:20,360
of a number of films
produced in Hollywood.
329
00:23:21,320 --> 00:23:24,520
The model on which
they had built their studios
330
00:23:24,600 --> 00:23:26,680
was not working anymore.
331
00:23:27,880 --> 00:23:30,320
There's not enough jobs.
332
00:23:31,400 --> 00:23:36,040
But kind of a life raft that was extended
to us young film students
333
00:23:36,120 --> 00:23:40,280
was a fellowship by Warner Bros.,
which George won.
334
00:23:41,320 --> 00:23:45,000
And George met the only other person
on the lot, who had a beard,
335
00:23:45,080 --> 00:23:49,200
who was Francis Coppola,
who was directing "Finian's Rainbow".
336
00:23:49,280 --> 00:23:52,840
We had both been film students,
long hair,
337
00:23:52,920 --> 00:23:55,640
everybody else on the crew
was over 50.
338
00:23:56,480 --> 00:23:58,560
So at the end of "Finian's Rainbow",
339
00:23:58,640 --> 00:24:01,640
Francis wanted to make a movie
on his own called "Rain People".
340
00:24:01,720 --> 00:24:05,800
And he said, "Do you know anybody
who knows anything about sound?"
341
00:24:05,880 --> 00:24:08,680
And I said, "Oh, I got
the perfect guy, Walter Murch."
342
00:24:12,800 --> 00:24:16,400
"Rain People" is a road movie,
much like "Easy Rider".
343
00:24:16,480 --> 00:24:20,480
Our two guys in "Easy Rider"
were travelling west to east.
344
00:24:20,560 --> 00:24:23,680
"The Rain People"
was travelling the other way.
345
00:24:24,760 --> 00:24:26,360
So we built this truck,
346
00:24:26,440 --> 00:24:29,280
and just went across the country,
making a movie.
347
00:24:31,440 --> 00:24:34,840
And it was the Nagra, which was
smaller, lighter sound equipment
348
00:24:34,920 --> 00:24:38,440
that actually started the ability
to shoot movies on the street.
349
00:24:41,240 --> 00:24:44,920
If we can make a film
out of a shoe store in Nebraska,
350
00:24:45,000 --> 00:24:47,280
why do we have to be in Hollywood?
351
00:24:48,160 --> 00:24:50,040
So we moved to San Francisco.
352
00:24:58,440 --> 00:25:01,960
Francis, George and me
were all in our late 20s...
353
00:25:02,840 --> 00:25:05,440
and we formed American Zoetrope.
354
00:25:07,200 --> 00:25:12,320
One of the dreams or goals of Zoetrope
was to break down the barriers
355
00:25:12,400 --> 00:25:16,480
between picture editing
and sound editing and sound mixing.
356
00:25:20,080 --> 00:25:22,880
Then I could let
my musique concrète demon
357
00:25:22,960 --> 00:25:24,120
out of the bottle completely,
358
00:25:25,240 --> 00:25:28,080
which was a whole new direction.
359
00:25:30,400 --> 00:25:33,800
So immediately after finishing
the mix on "Rain People",
360
00:25:33,880 --> 00:25:39,280
George and I got together
to write the screenplay for "THX 1138".
361
00:25:40,160 --> 00:25:42,560
And we got financing from Warner's.
362
00:25:43,080 --> 00:25:46,080
I would cut picture during the day,
then Walter would come in at night,
363
00:25:46,160 --> 00:25:48,200
and cut the sound.
364
00:25:51,640 --> 00:25:55,320
I took it upon myself to record
every sound effect for the film myself.
365
00:26:00,240 --> 00:26:03,600
"THX" had a very eerie,
strange soundtrack.
366
00:26:07,240 --> 00:26:11,360
Based on the dismal
performance of the film, commercially,
367
00:26:11,440 --> 00:26:14,440
Warner Bros. cancelled
the development advance
368
00:26:14,520 --> 00:26:16,280
that they had made to Zoetrope.
369
00:26:17,560 --> 00:26:21,160
They claimed that this was
a personal loan to Francis.
370
00:26:21,240 --> 00:26:24,320
And he owed them
all this money back.
371
00:26:24,400 --> 00:26:27,440
The equivalent today
would be 3 million.
372
00:26:27,520 --> 00:26:29,320
Bankrupted our company,
373
00:26:29,400 --> 00:26:32,560
made it so I couldn't work
in the business for a while.
374
00:26:32,640 --> 00:26:37,000
It was the end
of the road for Zoetrope.
375
00:26:38,640 --> 00:26:46,520
And in that state, Francis was offered
to direct this sleazy gangster film
376
00:26:46,600 --> 00:26:49,720
that 12 other directors
had turned down...
377
00:26:50,680 --> 00:26:52,040
which was "The Godfather".
378
00:26:55,600 --> 00:26:58,000
But he wanted to invest the film
379
00:26:58,080 --> 00:27:03,240
with the sensibility of the European film
and art that had influenced all of us.
380
00:27:04,560 --> 00:27:07,200
And he pulled all of us into it.
381
00:27:09,240 --> 00:27:11,440
When I was a kid growing up,
382
00:27:11,520 --> 00:27:16,920
one of the composers who was doing
the most advanced thinking at the time
383
00:27:17,000 --> 00:27:18,480
was John Cage.
384
00:27:19,960 --> 00:27:24,280
He was proselytising
that everything is music.
385
00:27:26,760 --> 00:27:30,680
Even the sound that the audience
makes in the theatre is music.
386
00:27:32,800 --> 00:27:37,200
And even the sound
of the lid of the piano going down
387
00:27:37,280 --> 00:27:41,000
is a kind of music.
He made us pay attention.
388
00:27:42,760 --> 00:27:46,760
So in "The Godfather", the moment
leading up to Sollozzo's death,
389
00:27:46,840 --> 00:27:51,240
it is accompanied by this screechy
John Cagey sound.
390
00:28:03,080 --> 00:28:06,200
What you're actually listening to
are Michael's neurons
391
00:28:06,280 --> 00:28:08,120
clashing against each other
392
00:28:08,200 --> 00:28:10,760
as he's making the decision
to actually kill these people.
393
00:28:12,720 --> 00:28:16,880
And the murder of a dream he had
of having nothing to do with the family.
394
00:28:21,320 --> 00:28:26,800
It's not technically music,
but it conjures up emotion and meaning.
395
00:28:30,520 --> 00:28:36,240
Obviously, it became a big hit.
And that bailed Zoetrope out.
396
00:28:36,320 --> 00:28:39,160
We were able to keep going after that.
397
00:28:43,920 --> 00:28:46,600
This one time
I'll let you ask me about my affairs.
398
00:28:46,680 --> 00:28:48,800
But the soundtrack of "The Godfather",
399
00:28:48,880 --> 00:28:54,240
as it was released in theatres in 1972,
was virtually identical
400
00:28:54,320 --> 00:28:57,920
to the soundtrack of "Gone with
the Wind", released in 1939.
401
00:28:58,000 --> 00:29:00,080
You will promise, won't you?
402
00:29:00,160 --> 00:29:04,400
It's a mono film with just
a single speaker behind the screen.
403
00:29:04,960 --> 00:29:07,440
Is that... is that all, Ashley?
404
00:29:07,520 --> 00:29:11,240
So sound in film didn't really change.
405
00:29:11,320 --> 00:29:13,720
But contrast that
with the music industry,
406
00:29:13,800 --> 00:29:16,960
which was adopting
all of this new technology,
407
00:29:17,040 --> 00:29:22,440
things like the LP, which,
by the late 1950s had stereo sound.
408
00:29:24,400 --> 00:29:28,080
Stereo spread the music
across two different speakers...
409
00:29:33,200 --> 00:29:36,080
surrounding you
and immersing you in the music.
410
00:29:37,680 --> 00:29:42,520
The Beatles, in particular, were testing
the boundaries of the medium.
411
00:29:42,600 --> 00:29:44,960
I remember when I played "Revolver"...
412
00:29:45,840 --> 00:29:48,880
it was a visceral feeling,
you could feel the sound in your body.
413
00:29:48,960 --> 00:29:53,800
♪ Turn off your mind,
relax and float downstream
414
00:29:53,880 --> 00:29:56,520
And the song "Revolution 9".
415
00:29:56,600 --> 00:29:58,600
♪ Nine, number nine
416
00:29:58,680 --> 00:30:03,160
George Martin brought this ability
to mix and create sound design,
417
00:30:03,840 --> 00:30:05,960
that would then be melded
with rock and roll.
418
00:30:10,680 --> 00:30:13,120
"Revolution 9" was fascinating to me
419
00:30:13,200 --> 00:30:15,280
because it was just like
musique concrète.
420
00:30:17,320 --> 00:30:21,920
As we come out
of the hippie '60s era of rock music,
421
00:30:22,000 --> 00:30:24,440
we brought that sensibility to cinema,
and thought,
422
00:30:24,520 --> 00:30:26,840
"Why can't movies be in stereo?"
423
00:30:29,280 --> 00:30:33,240
It was in that over-heated environment
424
00:30:33,320 --> 00:30:35,120
that Dolby came along
425
00:30:35,200 --> 00:30:40,040
from the music industry in the mid 70s,
and took the lid off.
426
00:30:40,680 --> 00:30:44,400
Providing stereo sound
in more and more theatres.
427
00:30:44,480 --> 00:30:49,600
I remember a nameless film executive
at one of the distributors in Hollywood,
428
00:30:49,680 --> 00:30:52,720
who actually hit his desk and said,
"Goddamn it,
429
00:30:52,800 --> 00:30:56,480
"it's good stories and comfortable seats,
that's what sells movies, not sound!"
430
00:30:58,400 --> 00:31:01,120
But then in 1976,
with "A Star Is Born",
431
00:31:01,200 --> 00:31:03,600
Barbra Streisand
had the imagination to say,
432
00:31:03,680 --> 00:31:07,640
"I want to do this vast stereo sound
with my film,"
433
00:31:07,720 --> 00:31:10,080
and just to tell the studio,
"We're gonna do it."
434
00:31:14,320 --> 00:31:21,760
♪ With one more look at you
435
00:31:22,720 --> 00:31:25,480
That all-enveloping sound
436
00:31:25,560 --> 00:31:28,400
and especially
coming from the audiences,
437
00:31:28,480 --> 00:31:33,880
to involve you as an audience member
into the concert.
438
00:31:35,120 --> 00:31:40,200
♪ Leave a troubled past
and I might start anew
439
00:31:40,880 --> 00:31:45,040
On "A Star Is Born"
Barbra Streisand insisted on,
440
00:31:45,120 --> 00:31:48,080
and in fact
got an extraordinary amount of time
441
00:31:48,160 --> 00:31:50,200
to do the sound edit
and sound mix.
442
00:31:53,680 --> 00:31:56,880
In fact it was something on the order
of magnitude of four months,
443
00:31:57,680 --> 00:32:01,200
at a time when it was more traditional
to have seven weeks.
444
00:32:09,160 --> 00:32:11,440
The deal with First Artist was that
445
00:32:11,520 --> 00:32:16,320
the artist was responsible
for anything over 6 million dollars.
446
00:32:17,760 --> 00:32:20,560
I spent the 6 million dollars
on the movie.
447
00:32:22,320 --> 00:32:26,640
But then when I got into sound,
I spent another million dollars.
448
00:32:27,360 --> 00:32:32,760
♪ Are you a figment of my imagination?
Or I'm one of yours
449
00:32:32,840 --> 00:32:37,560
When Warner Bros. saw the film,
they liked it so much
450
00:32:37,640 --> 00:32:39,680
that they didn't make me
pay the million dollars.
451
00:32:39,760 --> 00:32:42,320
I thought it was wonderful.
I was willing to spend it.
452
00:32:44,560 --> 00:32:47,840
There is a degree of reality
that you can get from stereo
453
00:32:47,920 --> 00:32:50,320
that's never possible
with a mono soundtrack.
454
00:32:50,400 --> 00:32:54,320
And bless Barbra Streisand
for recognising the value.
455
00:33:00,040 --> 00:33:03,120
It wasn't just the way
films were played in theatres
456
00:33:03,200 --> 00:33:07,480
that was changing.
It was the way they were recorded, too.
457
00:33:07,560 --> 00:33:11,920
I was a teenager in the '70s,
and I saw the film "Nashville".
458
00:33:16,040 --> 00:33:19,760
And I think that was probably the film
that turned my ears on
459
00:33:19,840 --> 00:33:23,440
to what was possible
in a movie with sound.
460
00:33:24,680 --> 00:33:26,320
When they come into the airport,
461
00:33:26,400 --> 00:33:29,440
that's an incredibly beautiful
piece of sound.
462
00:33:31,000 --> 00:33:33,320
Barbara Jean,
ladies and gentlemen.
463
00:33:33,920 --> 00:33:37,440
There's airplanes that come in and out
and obliterate what people are saying.
464
00:33:37,520 --> 00:33:40,200
There's a reporter on a microphone.
There's a marching band.
465
00:33:40,280 --> 00:33:42,640
And thank you,
Franklin High School band.
466
00:33:42,720 --> 00:33:45,440
I think you kids get better every year.
467
00:33:48,440 --> 00:33:51,120
All right twirlers, let's twirl.
468
00:33:52,120 --> 00:33:54,120
You're woven through
that entire tapestry
469
00:33:54,200 --> 00:33:55,800
and the sound is what's pulling you
470
00:33:55,880 --> 00:33:58,200
and telling you
where you're gonna go next.
471
00:33:58,280 --> 00:34:04,120
Jim Webb obviously had worked
with Robert Altman on many of his films.
472
00:34:04,200 --> 00:34:06,080
He was the master of multi-track,
473
00:34:06,160 --> 00:34:09,440
just ahead of their time
and pushing the limits.
474
00:34:09,520 --> 00:34:12,360
Before that, they recorded one track,
475
00:34:12,440 --> 00:34:15,240
but now we don't shoot
two tracks or three tracks.
476
00:34:15,320 --> 00:34:17,080
We have about
eight, ten, sixteen tracks.
477
00:34:17,160 --> 00:34:19,240
Other members
of Chamber of Commerce
478
00:34:19,320 --> 00:34:20,520
understand reportedly earlier on...
479
00:34:20,600 --> 00:34:22,080
You know, everybody had a mic.
480
00:34:22,160 --> 00:34:24,160
No matter how many people
were in the scene,
481
00:34:24,240 --> 00:34:26,320
they all had microphones
and were on mic all the time.
482
00:34:26,400 --> 00:34:29,160
All the other friends,
members and...
483
00:34:31,600 --> 00:34:33,000
She's fallen somewhere down...
484
00:34:33,080 --> 00:34:36,280
It was amazing, how the story
was driven by the sound
485
00:34:36,360 --> 00:34:41,080
in a way that I don't think had happened
before then in American films.
486
00:34:42,760 --> 00:34:45,280
My generation,
you know, Francis and George
487
00:34:45,360 --> 00:34:48,600
and Marty and Brian and my whole
group that I sort of grew up with...
488
00:34:48,680 --> 00:34:50,880
very sound-conscious generation.
489
00:34:52,480 --> 00:34:55,400
So between
the technological and creative advances
490
00:34:55,480 --> 00:34:58,280
of the early 1970s
sound was taking route
491
00:34:58,360 --> 00:35:00,840
in a new American Renaissance
of movies,
492
00:35:00,920 --> 00:35:03,600
in a way that had
never been heard before.
493
00:35:04,480 --> 00:35:06,520
Oh, I understand.
494
00:35:06,600 --> 00:35:08,720
But heading into the late '70s,
495
00:35:08,800 --> 00:35:11,480
even bigger breakthroughs
were on the way.
496
00:35:13,160 --> 00:35:15,840
Most directors
spent a lot of time with their cameramen
497
00:35:15,920 --> 00:35:17,320
and actors.
498
00:35:17,400 --> 00:35:20,960
I just take the same amount of time
and spend it with the sound designer.
499
00:35:21,040 --> 00:35:23,520
But when I started my next film,
500
00:35:23,600 --> 00:35:27,640
Francis was doing "The Conversation"
and Walter was busy on that.
501
00:35:29,560 --> 00:35:32,040
So I called Ken Miura at USC
and said,
502
00:35:32,120 --> 00:35:34,000
"Do you have anybody else
like Walter?"
503
00:35:34,080 --> 00:35:36,120
He said,
"Yeah, I got somebody here."
504
00:35:45,000 --> 00:35:50,320
My mother tells me that
as a toddler I loved to act out to music,
505
00:35:50,400 --> 00:35:54,360
that if she put a record on,
I would not only dance around the room,
506
00:35:54,440 --> 00:35:56,920
but I would assume characters,
I'd be a cowboy
507
00:35:57,000 --> 00:36:00,960
or I'd be
some kind of pirate or something.
508
00:36:01,040 --> 00:36:04,240
But when I was about
six years old, I had a serious illness
509
00:36:04,320 --> 00:36:07,520
and I was in bed for a few weeks
and very weak.
510
00:36:08,320 --> 00:36:11,160
But my father had access
to a tape recorder.
511
00:36:11,240 --> 00:36:13,320
And he brought that home.
512
00:36:14,000 --> 00:36:15,880
I began recording television shows
513
00:36:15,960 --> 00:36:18,040
by putting the microphone up to the TV
514
00:36:18,120 --> 00:36:20,640
and recording
the Saturday morning cartoons.
515
00:36:21,480 --> 00:36:24,000
There were two television stations
516
00:36:24,080 --> 00:36:28,320
and one of them had the Warner Bros.
package of syndicated film.
517
00:36:29,880 --> 00:36:32,800
I loved recording Errol Flynn movies
in particular.
518
00:36:39,160 --> 00:36:42,560
They ran the Cagney gangster movies.
519
00:36:42,640 --> 00:36:45,040
And Bogart films.
520
00:36:45,120 --> 00:36:49,640
So I got very familiar with the sounds
of Warner Bros' classic library.
521
00:36:51,200 --> 00:36:53,920
The other channel
pretty much showed MGM.
522
00:36:55,080 --> 00:37:00,640
♪ Somewhere over the rainbow...
523
00:37:00,720 --> 00:37:06,160
♪ Singing in the rain,
just singing in the rain...
524
00:37:06,240 --> 00:37:09,440
As the other children were
developing a love for certain music,
525
00:37:09,520 --> 00:37:11,760
I was listening to explosions.
526
00:37:19,760 --> 00:37:22,040
So I began collecting things I liked.
527
00:37:22,120 --> 00:37:25,440
And I'd seek after a movie
just to record the battle scenes
528
00:37:25,520 --> 00:37:27,320
and just listen to them.
529
00:37:30,000 --> 00:37:33,880
I think the thousands of hours
I spent doing that as a kid,
530
00:37:34,680 --> 00:37:37,760
unknown to me,
that was building up an inventory
531
00:37:37,840 --> 00:37:42,360
of how sound in movies
was part of the experience.
532
00:37:45,040 --> 00:37:47,840
I started making my own little movies.
533
00:37:47,920 --> 00:37:53,200
In those days you couldn't record
live sound while shooting super 8 films.
534
00:37:53,280 --> 00:37:56,440
But I could generate a soundtrack
after the fact
535
00:37:57,840 --> 00:38:02,600
by taking sound effects I had extracted
from movies and television shows
536
00:38:02,680 --> 00:38:05,000
and putting them in my movies.
537
00:38:13,440 --> 00:38:16,160
I first met Ben Burtt
at USC Film School.
538
00:38:16,880 --> 00:38:19,280
We kind of were kindred spirits.
539
00:38:19,360 --> 00:38:23,680
Whereas a lot of the students were
into all the Antonioni and the arty films,
540
00:38:23,760 --> 00:38:27,520
we kind of liked the traditional
Hollywood fun films and serials.
541
00:38:30,120 --> 00:38:32,400
Rod Flash.
542
00:38:32,480 --> 00:38:34,280
We wrote this movie
543
00:38:34,360 --> 00:38:37,160
called "Rod Flash Conquers Infinity".
544
00:38:37,240 --> 00:38:40,320
Ben and I dressed up
in these knock-off Flash Gordon things
545
00:38:40,400 --> 00:38:43,680
that we got at an army surplus store
in Hollywood.
546
00:38:45,240 --> 00:38:48,080
We were making
the voyage to the planet Extraneous.
547
00:38:51,880 --> 00:38:53,440
We discover a dinosaur.
548
00:38:54,160 --> 00:38:57,760
And of course
we have a pretty girl in a cape.
549
00:39:02,080 --> 00:39:04,360
And Ben did the sound on that one.
550
00:39:13,600 --> 00:39:17,320
So I was just finishing at USC Cinema,
551
00:39:17,400 --> 00:39:22,160
and Gary Kurtz who had represented
George Lucas, came down to school,
552
00:39:22,240 --> 00:39:24,600
looking for a student
interested in sound
553
00:39:24,680 --> 00:39:27,400
who they could mould
into their own ways.
554
00:39:28,080 --> 00:39:31,720
I went out to the studio
and met with the two of them.
555
00:39:32,360 --> 00:39:35,520
And they outlined the film
they were gonna make.
556
00:39:36,320 --> 00:39:39,480
They had artwork on the walls
done by Ralph McQuarrie,
557
00:39:39,560 --> 00:39:41,680
concept art for the film.
558
00:39:41,760 --> 00:39:44,320
I was astounded by what I saw.
559
00:39:44,400 --> 00:39:46,200
This was the film
I always wanted to work on.
560
00:39:46,280 --> 00:39:50,720
This had spaceships and monsters
and weapons like lightsabres.
561
00:39:52,120 --> 00:39:54,080
It was called "Star Wars".
562
00:39:55,400 --> 00:39:58,480
So I leap at the chance
and the initial discussion was,
563
00:39:58,560 --> 00:40:02,400
"Would you like to help collect sounds
for a Wookiee?"
564
00:40:03,360 --> 00:40:06,880
This is still about a year away
from principal photography.
565
00:40:07,920 --> 00:40:10,560
I put Ben on in the beginning
because I knew
566
00:40:10,640 --> 00:40:14,400
I had to figure out a way
of making these characters real.
567
00:40:14,480 --> 00:40:18,680
And I knew it depended on
how we developed these languages,
568
00:40:18,760 --> 00:40:22,320
and that's what Ben spent
the better part of a year doing.
569
00:40:23,920 --> 00:40:25,680
We were trying to find an animal
570
00:40:25,760 --> 00:40:28,720
that had enough
vocal expressiveness
571
00:40:28,800 --> 00:40:31,800
in its sounds that we could use it
for the Wookiee.
572
00:40:33,040 --> 00:40:36,360
So there was a young bear
named Pooh.
573
00:40:36,440 --> 00:40:40,040
And we spent an afternoon
with this bear in a pen,
574
00:40:40,120 --> 00:40:42,440
coaxing it to say different sounds.
575
00:40:43,240 --> 00:40:48,480
The way they got it to make sound
was to show it bread. It loved bread.
576
00:40:48,560 --> 00:40:50,480
The bear would...
577
00:40:54,160 --> 00:40:58,280
Then you'd give him the bread
and then he'd be like...
578
00:41:00,920 --> 00:41:03,440
George wanted to know
before they filmed the movie
579
00:41:03,520 --> 00:41:05,400
how would the Wookiee sound.
580
00:41:05,480 --> 00:41:07,160
Well, you said it, Chewie.
581
00:41:07,240 --> 00:41:12,000
This is not the way that most filmmakers
worked at that time.
582
00:41:12,080 --> 00:41:14,400
I knew the sound
was part of the foundation
583
00:41:14,480 --> 00:41:17,000
of what the movie was gonna be.
584
00:41:17,080 --> 00:41:20,360
So everything had to have been
figured out way ahead of time.
585
00:41:21,320 --> 00:41:25,520
So I proceeded to work my way
through the screenplay of "Star Wars".
586
00:41:25,600 --> 00:41:27,880
I read through it,
made some notes, broke it down,
587
00:41:27,960 --> 00:41:31,200
and I realised there were
hundreds of things in the script
588
00:41:31,280 --> 00:41:34,240
from Darth Vader's breathing,
and you had the Death Star,
589
00:41:34,320 --> 00:41:39,360
you had TIE fighters
and a whole library of things in there.
590
00:41:39,440 --> 00:41:44,360
I said, "Well, do you want sounds
for the rest of these things as well?"
591
00:41:44,440 --> 00:41:47,600
The answer was, "Yeah, sure.
Just spend some time."
592
00:41:48,880 --> 00:41:52,800
And so I operated out of my apartment
for many months
593
00:41:52,880 --> 00:41:57,280
coming up with expeditions
to go out and gather sound,
594
00:41:57,360 --> 00:42:01,160
while George was off in England,
busy shooting the movie.
595
00:42:01,240 --> 00:42:03,800
I was still based in LA.
596
00:42:03,880 --> 00:42:06,600
He wanted me to go out
and record real motors
597
00:42:06,680 --> 00:42:10,760
and real airplanes,
and real rusty doors.
598
00:42:10,840 --> 00:42:13,040
This hum of a projector,
599
00:42:13,120 --> 00:42:16,160
a buzzing sound
behind the television set.
600
00:42:16,240 --> 00:42:19,760
I tried to go to factories
and a scuba shop.
601
00:42:20,920 --> 00:42:23,880
I just started recording everything
I could get my hands on.
602
00:42:23,960 --> 00:42:26,720
And to populate
the universe of "Star Wars"
603
00:42:26,800 --> 00:42:31,320
with the sounds of things
that we would hear as real.
604
00:42:34,400 --> 00:42:37,280
We didn't wanna follow
the conventions of science fiction
605
00:42:37,360 --> 00:42:38,960
that were current at the time
606
00:42:39,040 --> 00:42:42,720
which was things like "Forbidden Planet"
or "War of the Worlds",
607
00:42:42,800 --> 00:42:45,480
using electronic music technology.
608
00:42:46,600 --> 00:42:49,280
We didn't use synthesisers
or anything like that.
609
00:42:49,360 --> 00:42:51,480
We used real sound effects.
610
00:42:54,800 --> 00:42:57,800
So a year or so
went by of me collecting
611
00:42:57,880 --> 00:43:02,760
and when they returned from filming,
I got a note saying,
612
00:43:02,840 --> 00:43:07,720
"We'll take the tapes
and deliver them to Northern California."
613
00:43:07,800 --> 00:43:11,000
They were doing the picture editing
in George's house.
614
00:43:11,520 --> 00:43:16,920
So I started to cut my sound effects
into the editor's cuts of the movie.
615
00:43:19,320 --> 00:43:22,360
But R2-D2 took a long time.
616
00:43:22,440 --> 00:43:28,000
There were many versions of that
over months that were failures.
617
00:43:28,080 --> 00:43:30,120
You have to actually make him talk
618
00:43:30,200 --> 00:43:33,200
and make you understand
what he's saying.
619
00:43:33,280 --> 00:43:35,240
And R2 had no mouth at all.
620
00:43:35,320 --> 00:43:37,640
What Mission?
What are you talking about?
621
00:43:37,720 --> 00:43:41,400
We were very worried
that it would be incomprehensible.
622
00:43:43,560 --> 00:43:45,440
What eventually happened was,
623
00:43:45,520 --> 00:43:47,880
as George and I
were talking to each other,
624
00:43:47,960 --> 00:43:51,920
we would say, "R2 comes up
to this point in the movie and he goes..."
625
00:43:55,840 --> 00:44:00,240
And suddenly we realised
we were talking with expressive sounds.
626
00:44:00,320 --> 00:44:02,920
They had the intonation of meaning.
627
00:44:03,000 --> 00:44:05,560
We were verbalising a sound
that worked for us.
628
00:44:08,280 --> 00:44:11,920
And that led down the road
of doing just that.
629
00:44:12,000 --> 00:44:17,080
I could do a vocalisation
and play something on the keyboard...
630
00:44:19,480 --> 00:44:22,240
and you could sort of
work two things together.
631
00:44:24,480 --> 00:44:26,400
What mission?
What are you talking about?
632
00:44:28,280 --> 00:44:32,840
I've just about had enough of you.
Go that way.
633
00:44:32,920 --> 00:44:35,920
You'll be malfunctioning within a day,
you near-sighted scrap pile.
634
00:44:37,240 --> 00:44:41,440
We were not sure that audiences
would comprehend this at all though.
635
00:44:41,520 --> 00:44:44,360
I didn't know.
I was nervous, as anybody would be.
636
00:44:44,440 --> 00:44:46,800
I thought maybe
this was probably the end.
637
00:44:46,880 --> 00:44:50,000
I'd go back and become a science
teacher somewhere in the East.
638
00:44:50,080 --> 00:44:53,680
You got to remember,
my first film was a failure.
639
00:44:53,760 --> 00:44:55,440
I thought,
the ultimate honour would be
640
00:44:55,520 --> 00:44:58,400
if we could be invited
to a "Star Trek" convention.
641
00:44:58,480 --> 00:45:00,000
I could sell T-shirts.
642
00:45:00,080 --> 00:45:05,080
Maybe we'd have a table there
to hand out posters or something.
643
00:45:07,000 --> 00:45:10,400
That to me would have been
the peak of my career.
644
00:45:12,320 --> 00:45:15,560
When the film was finished,
Fox didn't really know what they had.
645
00:45:15,640 --> 00:45:19,320
I sat in a meeting with a Fox executive
with Gary Kurtz
646
00:45:19,400 --> 00:45:21,560
and the Fox Executive said,
647
00:45:21,640 --> 00:45:24,680
"We like your movie, Gary,
but we think it's a sleeper.
648
00:45:24,760 --> 00:45:27,120
"We think it's gonna open very slowly."
649
00:45:28,040 --> 00:45:31,880
I sat in the Coronet Theater
in San Francisco
650
00:45:31,960 --> 00:45:34,640
for the opening show there,
70mm print.
651
00:45:34,720 --> 00:45:36,880
I was sitting actually
in the middle of the audience
652
00:45:36,960 --> 00:45:40,800
and this guy sitting next to me
as the plane comes overhead...
653
00:45:54,360 --> 00:45:58,680
And this guy goes,
"Holy shit. Holy shit. Holy shit."
654
00:45:59,960 --> 00:46:02,560
And two weeks later,
there were lines around the blocks
655
00:46:02,640 --> 00:46:05,440
across the country
waiting for "Star Wars".
656
00:46:09,440 --> 00:46:12,680
The award goes to
Mr Benjamin Burtt, Jr.
657
00:46:17,600 --> 00:46:19,840
Thank you very much.
658
00:46:19,920 --> 00:46:22,040
I would like to, of course,
thank George Lucas
659
00:46:22,120 --> 00:46:24,600
who had all the great ideas
and provided all the inspiration
660
00:46:24,680 --> 00:46:27,200
for the things in "Star Wars".
Thank you very much.
661
00:46:30,440 --> 00:46:33,600
It is the imaginative director
who will say,
662
00:46:33,680 --> 00:46:36,760
"Let's take the next step
in the sound story."
663
00:46:37,560 --> 00:46:39,440
George Lucas and Gary Kurtz,
664
00:46:39,520 --> 00:46:41,640
Barbra Streisand on "A Star Is Born",
665
00:46:41,720 --> 00:46:44,200
Francis Coppola, Stanley Kubrick,
666
00:46:44,280 --> 00:46:48,840
those are the key players who will say,
"Yes, I'll do this."
667
00:46:51,240 --> 00:46:53,760
"Star Wars" was a revolution.
668
00:46:55,360 --> 00:47:00,760
It was that soundtrack
that changed everything, 1977.
669
00:47:03,440 --> 00:47:07,160
In people's minds,
it was a time when sound was cool.
670
00:47:08,480 --> 00:47:12,760
And it created this era
driven by the filmmakers.
671
00:47:14,040 --> 00:47:15,960
At that time,
David Lynch and Alan Splet
672
00:47:16,040 --> 00:47:18,640
came out of AFI
and were a partnership.
673
00:47:19,240 --> 00:47:22,360
These really great minds
were doing experimental things.
674
00:47:23,680 --> 00:47:27,480
I believe the source of everyone's
creativity comes from within.
675
00:47:31,520 --> 00:47:34,440
And Alan,
he was a born soundman.
676
00:47:38,760 --> 00:47:42,240
Very interested in music,
especially classical music.
677
00:47:49,160 --> 00:47:53,560
And he was a joyous experimenter.
678
00:47:57,800 --> 00:47:59,560
The trick for the human being
679
00:47:59,640 --> 00:48:02,520
is experiencing
this deepest level of life.
680
00:48:04,840 --> 00:48:09,000
The unbounded
infinite ocean of consciousness
681
00:48:09,080 --> 00:48:11,440
at the base of all matter and mind,
682
00:48:12,720 --> 00:48:18,640
where sounds play a huge role
in the abstract cinema.
683
00:48:21,520 --> 00:48:26,680
You wanna bring people into a world
and give them an experience
684
00:48:27,880 --> 00:48:31,200
and you could get lost in there
for years.
685
00:48:39,200 --> 00:48:42,000
So it was in the air -
breaking the mould,
686
00:48:42,080 --> 00:48:44,160
and trying things
that seemed crazy
687
00:48:44,240 --> 00:48:46,600
and seeing if they worked.
688
00:48:46,680 --> 00:48:49,320
The '70s was a really good time
of filmmaking.
689
00:48:51,680 --> 00:48:55,400
There was no more experimental
or chaotic film in all of history,
690
00:48:55,480 --> 00:48:59,880
that so changed the way film sound
was done and presented
691
00:48:59,960 --> 00:49:01,520
as "Apocalypse Now".
692
00:49:14,160 --> 00:49:16,280
During the shooting
of "Apocalypse Now",
693
00:49:16,360 --> 00:49:18,680
Francis heard a record by Tomita
694
00:49:18,760 --> 00:49:23,560
which was "The Planets"
by Gustav Holst in 4-track.
695
00:49:24,880 --> 00:49:28,440
The idea was that you put speakers
at each corner of your room,
696
00:49:28,520 --> 00:49:31,840
you sat in the centre
and you were surrounded by the music.
697
00:49:35,480 --> 00:49:39,520
Francis heard it and thought
this is how I want the film to sound.
698
00:49:40,200 --> 00:49:42,760
But all of us working on the sound...
699
00:49:42,840 --> 00:49:46,920
Richards Beggs, Mark Berger
and myself, we'd only work in mono.
700
00:49:47,000 --> 00:49:49,080
None of us had even worked
on a stereo film
701
00:49:49,160 --> 00:49:53,080
let alone this whole new
6-track surround format.
702
00:49:56,040 --> 00:50:01,560
We were exploring the unknown
going into this whole new continent
703
00:50:02,520 --> 00:50:06,560
where we move objects
all the way around the theatre
704
00:50:09,280 --> 00:50:11,640
which had never been done before.
705
00:50:17,560 --> 00:50:19,480
If you're breaking new ground
706
00:50:19,560 --> 00:50:22,640
then people who are interested
in new ground
707
00:50:22,720 --> 00:50:25,400
come because
they want to participate in it
708
00:50:25,480 --> 00:50:28,080
and more ground gets broken.
709
00:50:29,120 --> 00:50:31,960
I spent about half my time
on "Apocalypse" in the mix,
710
00:50:32,040 --> 00:50:34,440
sitting there watching Walter Murch
711
00:50:34,520 --> 00:50:37,320
and Mark Berger
and Richard Beggs and Francis,
712
00:50:37,400 --> 00:50:40,320
figuring out what this movie
was going to sound like.
713
00:50:41,360 --> 00:50:44,800
Working on "Apocalypse Now"
was my film school.
714
00:50:46,320 --> 00:50:49,240
Ultimately, we wound up
spending a year and a half
715
00:50:49,320 --> 00:50:53,240
editing the sound
and nine months doing the mix
716
00:50:53,320 --> 00:50:55,080
which is just unheard of.
717
00:50:55,160 --> 00:50:59,640
Just about everything
that could go right or go wrong did.
718
00:50:59,720 --> 00:51:02,640
The whole "Apocalypse Now"
experience was like dropping acid.
719
00:51:05,000 --> 00:51:10,360
♪ This is the end, beautiful friend
720
00:51:11,120 --> 00:51:13,120
What you have
at the beginning of the film
721
00:51:13,200 --> 00:51:18,000
is Captain Willard
in his Saigon hotel room hallucinating,
722
00:51:18,080 --> 00:51:20,640
regretting what he's done in the war.
723
00:51:24,120 --> 00:51:26,800
Everything that you see and hear
724
00:51:26,880 --> 00:51:29,960
is being filtered
through his consciousness.
725
00:51:32,960 --> 00:51:39,040
♪ Waiting for the summer rain, yeah
726
00:51:42,240 --> 00:51:48,360
And that decision is what allowed Walter
to do what he did with the sound.
727
00:51:53,040 --> 00:51:55,360
To tell the story
more from the point of view
728
00:51:55,440 --> 00:51:59,080
of this character
in this crazy situation in Vietnam.
729
00:51:59,680 --> 00:52:01,080
Saigon.
730
00:52:02,920 --> 00:52:04,640
Shit.
731
00:52:04,720 --> 00:52:07,160
And it frames the whole movie.
732
00:52:15,280 --> 00:52:18,560
The most interesting sound
is designed into the script
733
00:52:18,640 --> 00:52:20,720
and is designed into the scenes.
734
00:52:24,680 --> 00:52:29,600
So I wrote out a script
for the sound treatment of the film
735
00:52:29,680 --> 00:52:31,080
to guide the mix.
736
00:52:37,280 --> 00:52:40,160
Walter decided
that it was more efficient
737
00:52:40,240 --> 00:52:44,520
if each editor be responsible
for one whole layer of sound,
738
00:52:45,680 --> 00:52:48,520
so that the helicopters
were edited by one editor
739
00:52:48,600 --> 00:52:52,280
and the background voices
were edited by another editor.
740
00:52:52,360 --> 00:52:55,520
Les Hodgson
was in charge of atmospheres.
741
00:52:55,600 --> 00:52:58,080
Les Wiggins
was in charge of munitions.
742
00:52:58,880 --> 00:53:01,720
Pat Jackson
was in charge of the boat.
743
00:53:01,800 --> 00:53:03,920
So that there was a consistency.
744
00:53:05,400 --> 00:53:07,040
To treat each sound editor
745
00:53:07,120 --> 00:53:10,400
as the head of an instrument grouping
in an orchestra.
746
00:53:11,360 --> 00:53:14,240
You are the lead violin.
You are head of the woodwinds.
747
00:53:14,320 --> 00:53:16,160
You are head of percussion.
748
00:53:16,920 --> 00:53:18,920
You are head of the brasses.
749
00:53:29,920 --> 00:53:36,600
And as Chief is dying, Pat Jackson
changed the pitch of the boat
750
00:53:36,680 --> 00:53:40,160
so that the boat sound is going down.
751
00:53:51,120 --> 00:53:53,640
I think the biggest lesson
I learned from "Apocalypse Now"
752
00:53:53,720 --> 00:53:56,320
sitting there was figuring out
from moment to moment
753
00:53:56,400 --> 00:53:59,280
what sounds to use
and what sounds not to use.
754
00:53:59,360 --> 00:54:02,400
Those kinds of decisions
are the essence of film.
755
00:54:08,360 --> 00:54:12,760
And the exhibitors are going to play
the picture on our terms,
756
00:54:12,840 --> 00:54:17,080
with our sound,
the way we want them to show it.
757
00:54:17,160 --> 00:54:21,920
The film did run
in this 6-track surround format.
758
00:54:22,000 --> 00:54:25,960
And as things have evolved
over the next 30, 40 years,
759
00:54:26,040 --> 00:54:30,360
that format is now the ground standard
of how you mix a film.
760
00:54:31,920 --> 00:54:36,040
The soundtrack is at least
as important as the film.
761
00:54:36,120 --> 00:54:41,840
And the director of the soundtrack
of the entire movie is Walter Murch.
762
00:54:43,800 --> 00:54:47,800
In a way, Walter Murch
is the father of us all
763
00:54:47,880 --> 00:54:51,520
in this modern era of film sound.
764
00:54:54,240 --> 00:54:56,040
"Apocalypse Now"
marked the culmination
765
00:54:56,120 --> 00:54:59,200
of over 50 years
of film sound development.
766
00:54:59,280 --> 00:55:01,600
And its repercussions
can still be felt today.
767
00:55:03,080 --> 00:55:05,080
But the next big challenge for sound
768
00:55:05,160 --> 00:55:08,560
was how to work
in the crazy new digital world.
769
00:55:14,720 --> 00:55:18,760
I always thought that
animation was such a visual medium.
770
00:55:18,840 --> 00:55:22,400
But when I started putting
just the right sound effects
771
00:55:22,480 --> 00:55:25,480
it just made it a thousand times better.
772
00:55:28,200 --> 00:55:31,840
February of 1986, we formed Pixar.
773
00:55:33,800 --> 00:55:37,080
I had been working
on animating these desk lamps.
774
00:55:37,160 --> 00:55:40,240
So I made this little one
and a half minute short film,
775
00:55:40,320 --> 00:55:42,200
called Luxo Jr.
776
00:55:42,280 --> 00:55:45,440
And of course we wanted Ben Burtt
to do the sound,
777
00:55:46,560 --> 00:55:49,240
but they told us he was busy.
778
00:55:49,320 --> 00:55:52,520
And they say, but there's this young guy
that's been working with Ben.
779
00:55:52,600 --> 00:55:54,600
He's really, really good.
780
00:55:54,680 --> 00:55:57,960
Let's give this new guy a try.
His name's Gary Rydstrom.
781
00:56:01,040 --> 00:56:02,440
But I want Ben Burtt.
782
00:56:07,600 --> 00:56:09,400
I think all of my early opportunities
783
00:56:09,480 --> 00:56:11,200
were shows that people
wanted Ben Burtt,
784
00:56:11,280 --> 00:56:12,880
is how it works in the world, right?
785
00:56:12,960 --> 00:56:16,360
We'd like Ben Burtt, please,
he's not available, who else you got?
786
00:56:16,440 --> 00:56:19,600
Now, Luxo Jr. was
definitely a huge step forward
787
00:56:19,680 --> 00:56:23,800
for animation.
And it had a very real look to him.
788
00:56:23,880 --> 00:56:28,800
And Gary kept looking at it going,
"I wanna ground this in reality."
789
00:56:29,920 --> 00:56:33,320
I had this digital workstation
called the Synclavier,
790
00:56:33,400 --> 00:56:36,360
where I could take real sounds,
load them into the computer
791
00:56:36,440 --> 00:56:38,840
and manipulate them
on the keyboard.
792
00:56:38,920 --> 00:56:42,200
Like scraping metal,
the screwing in of lightbulbs.
793
00:56:42,280 --> 00:56:45,720
Harsh, boring sounds.
And the springs...
794
00:56:45,800 --> 00:56:48,200
You record sounds you don't know
what they're going to be for,
795
00:56:48,280 --> 00:56:49,680
but they're interesting.
796
00:56:49,760 --> 00:56:54,160
And later on, you'll find little titbits
that have a little vocal quality.
797
00:56:54,240 --> 00:56:56,160
It's sad or happy.
798
00:56:57,280 --> 00:56:59,800
And next thing you know,
he brought me down
799
00:56:59,880 --> 00:57:03,200
and he showed me
a first pass of Luxo Jr.
800
00:57:04,360 --> 00:57:07,040
And the characters came alive.
801
00:57:12,000 --> 00:57:16,080
He crafted their voices
and he gave them weight.
802
00:57:21,600 --> 00:57:23,120
Gary got it.
803
00:57:23,200 --> 00:57:27,160
He took the medium
of computer animation to new heights.
804
00:57:27,240 --> 00:57:31,360
And pretty much everything Pixar did,
Gary did the sound for.
805
00:57:32,400 --> 00:57:35,520
I thought this is cool,
I'm part of something really big here.
806
00:57:35,600 --> 00:57:37,560
George Lucas and Ben Burtt,
807
00:57:37,640 --> 00:57:39,840
Francis Coppola and Walter Murch,
808
00:57:39,920 --> 00:57:41,840
David Lynch and Alan Splet.
809
00:57:42,560 --> 00:57:45,920
Great directors connected
at the hip to a sound person.
810
00:57:47,240 --> 00:57:50,080
One of mine
was with John Lasseter...
811
00:57:50,160 --> 00:57:52,000
and another was
with Steven Spielberg.
812
00:57:52,080 --> 00:57:53,080
Action.
813
00:57:53,160 --> 00:57:56,360
Welcome to Jurassic Park.
814
00:58:00,880 --> 00:58:03,600
We're gonna make a fortune
with this place.
815
00:58:03,680 --> 00:58:07,400
I think Gary Rydstrom's
greatest contribution to "Jurassic Park"
816
00:58:07,480 --> 00:58:10,680
was presuming
what dinosaurs sounded like.
817
00:58:10,760 --> 00:58:14,480
To make them extraordinary,
but also natural.
818
00:58:26,400 --> 00:58:28,720
And the first time
I ever heard the T-Rex,
819
00:58:28,800 --> 00:58:30,960
I did literally fall off my chair.
820
00:58:31,880 --> 00:58:33,280
Talk about innovative,
821
00:58:33,360 --> 00:58:37,400
it was just unbelievable the sound
that he did on "Jurassic Park".
822
00:58:37,480 --> 00:58:39,640
So we just asked him
to do sound for us
823
00:58:39,720 --> 00:58:42,080
on the first computer animated
feature film.
824
00:58:42,160 --> 00:58:44,480
♪ You've got a friend in me
825
00:58:44,560 --> 00:58:47,600
I just appreciated
how Gary was making sure
826
00:58:47,680 --> 00:58:52,720
that the sounds he used
supported the emotional intention
827
00:58:52,800 --> 00:58:55,760
of the narrative
of whatever was going on.
828
00:58:56,560 --> 00:58:58,720
Say, what's that button do?
829
00:58:58,800 --> 00:59:01,240
I'll show you.
Buzz Lightyear to the rescue.
830
00:59:01,320 --> 00:59:02,320
Whoa.
Wow.
831
00:59:02,400 --> 00:59:05,640
Hey, Woody's got something like that.
His is a pull-string only.
832
00:59:05,720 --> 00:59:10,000
We wanted to have one thing
that both Woody and Buzz had
833
00:59:10,920 --> 00:59:14,800
that you could tell
Woody's was older and cheesier.
834
00:59:14,880 --> 00:59:19,080
And Buzz's was new and high-tech
and that was a sound system.
835
00:59:19,160 --> 00:59:21,640
I had an old Casper doll.
836
00:59:23,200 --> 00:59:28,920
There's a record in there
that he is... Come on, Cas.
837
00:59:29,000 --> 00:59:31,600
See that's like, "I love you."
838
00:59:32,840 --> 00:59:35,880
He's sounding awesome these days.
Oh, come on, Casper.
839
00:59:37,320 --> 00:59:40,560
Reach for the sky.
840
00:59:41,240 --> 00:59:43,920
Gary loved that idea.
841
00:59:44,800 --> 00:59:47,040
We were innovating
with computers so much
842
00:59:47,120 --> 00:59:50,560
and creating new tools for animation.
843
00:59:50,640 --> 00:59:55,720
Therefore, he was at the same time
using computers for the first time,
844
00:59:55,800 --> 00:59:59,040
in really clever ways
to do sound design.
845
00:59:59,120 --> 01:00:01,360
You know,
it's mind-blowing to think that just,
846
01:00:01,440 --> 01:00:04,680
I don't know,
even many people around the industry
847
01:00:04,760 --> 01:00:08,120
were still cutting sound
at that time on mag.
848
01:00:09,880 --> 01:00:11,640
Up until the early 1990s,
849
01:00:11,720 --> 01:00:15,760
we were cutting one track of sound
at a time on mag film.
850
01:00:16,360 --> 01:00:18,200
But by the mid 1990s,
851
01:00:18,280 --> 01:00:21,920
sound editing migrated
to computer systems like Pro Tools.
852
01:00:22,000 --> 01:00:25,040
Now we could see the waveforms
we were editing,
853
01:00:25,120 --> 01:00:28,080
but more importantly,
sound editors could finally hear
854
01:00:28,160 --> 01:00:30,440
how all their tracks played together.
855
01:00:35,640 --> 01:00:39,080
It was a very exciting time
for all people in visual and sound.
856
01:00:41,720 --> 01:00:44,280
So all of a sudden I get this call.
857
01:00:45,240 --> 01:00:48,720
The Wachowskis said, "Remember
that really great script called 'The Matrix'
858
01:00:48,800 --> 01:00:51,920
"that we used to talk about
on the mixing stage? It's green-lit."
859
01:00:59,400 --> 01:01:03,320
And the fact that the movie
was about this digital reality
860
01:01:03,400 --> 01:01:05,720
that was coming through a wire,
861
01:01:05,800 --> 01:01:08,160
I thought there was some parallel
862
01:01:08,240 --> 01:01:13,000
to trying to do all
of the sound design in the digital world.
863
01:01:13,080 --> 01:01:15,200
And it was a chance
to apply this technology,
864
01:01:15,280 --> 01:01:18,400
that was still sketchy,
but allowed for all these possibilities.
865
01:01:22,280 --> 01:01:24,320
One of the first sounds
that I developed
866
01:01:24,400 --> 01:01:28,360
was the sound of Neo
perceiving himself being digitised.
867
01:01:30,080 --> 01:01:31,720
Did you...?
868
01:01:32,760 --> 01:01:35,480
In the digital world,
everything is zeros and ones,
869
01:01:35,560 --> 01:01:37,880
just little boxes basically.
870
01:01:37,960 --> 01:01:41,520
I wanted to get that feeling across
to the audience, the jaggedness.
871
01:01:48,920 --> 01:01:50,400
Computers did allow us
872
01:01:50,480 --> 01:01:53,840
to do some very fun creative work
on "The Matrix".
873
01:01:54,760 --> 01:01:56,760
There would not have been
time otherwise.
874
01:01:57,360 --> 01:02:00,480
And I've always had a love hate thing
with technology.
875
01:02:00,560 --> 01:02:02,360
Computers suck.
876
01:02:02,440 --> 01:02:06,000
Part of me just wants to live
in the woods and carve sticks.
877
01:02:06,080 --> 01:02:09,960
I have seen the future, this is it,
it definitely does not work.
878
01:02:10,480 --> 01:02:14,120
But another part of me
just loves all these fancy tools.
879
01:02:15,760 --> 01:02:20,280
These days there are
so many tools to manipulate a sound
880
01:02:20,360 --> 01:02:23,920
that now pretty much in sound,
if you can think it, you can do it.
881
01:02:33,600 --> 01:02:36,600
But ultimately
it wasn't about the technology.
882
01:02:36,680 --> 01:02:39,720
It's the contribution of dozens
of sound people.
883
01:02:39,800 --> 01:02:42,560
A circle of talent
who collaborate behind the scenes
884
01:02:42,640 --> 01:02:44,600
to help tell the story.
885
01:02:45,320 --> 01:02:51,040
The human voice it's the great
possession of the individual.
886
01:02:51,120 --> 01:02:54,640
It can have all sorts of nuances,
and it's unique.
887
01:02:55,360 --> 01:02:57,800
If you listen real close,
888
01:02:57,880 --> 01:03:00,040
you can hear them
whisper their legacy to you.
889
01:03:01,160 --> 01:03:07,040
Carpe diem, seize the day, boys.
890
01:03:08,160 --> 01:03:10,400
When you're recording
production sound,
891
01:03:10,480 --> 01:03:13,320
what you're really trying to capture
is the performance.
892
01:03:13,400 --> 01:03:16,000
You have my permission to die.
893
01:03:16,080 --> 01:03:18,880
Peoples' voices
are really complex instruments.
894
01:03:18,960 --> 01:03:20,360
With a boom microphone,
895
01:03:20,440 --> 01:03:24,040
you're about maybe 10 inches away
from a person's mouth.
896
01:03:24,720 --> 01:03:27,480
It's an enormous sense of intimacy
that you get.
897
01:03:28,640 --> 01:03:33,040
On "Funny Girl",
we filmed it to a pre-recorded track.
898
01:03:33,120 --> 01:03:39,480
♪ For whatever my man is,
I am his...
899
01:03:39,560 --> 01:03:41,880
Willy leans towards me
and says, "What do you think?"
900
01:03:41,960 --> 01:03:43,960
I said, "It could be better,"
901
01:03:44,040 --> 01:03:48,080
because I believe
in working in the moment.
902
01:03:48,160 --> 01:03:51,840
I have to do it live.
And he said OK.
903
01:03:52,720 --> 01:03:56,000
So they put a boom like this,
because it had to be close up.
904
01:03:56,080 --> 01:03:58,720
♪ When I know I'll come back
905
01:04:00,640 --> 01:04:03,000
♪ On my knees someday
906
01:04:05,240 --> 01:04:07,520
♪ For whatever my man is
907
01:04:08,120 --> 01:04:14,520
♪ I am his forevermore
908
01:04:16,080 --> 01:04:21,320
And I thought, that's the kind of feeling
I'd like to get into "My Man".
909
01:04:23,680 --> 01:04:26,880
As a director I can hear the truth
910
01:04:26,960 --> 01:04:30,520
when an actor
is indicating something or...
911
01:04:32,120 --> 01:04:34,320
feeling it.
912
01:04:34,400 --> 01:04:36,600
What are you, a demon?
I'm not. You know me.
913
01:04:36,680 --> 01:04:39,160
You spit on the Torah.
I love the Torah.
914
01:04:39,240 --> 01:04:41,840
You spit on it.
To spit on everything on everyone.
915
01:04:41,920 --> 01:04:43,320
On nature itself.
916
01:04:43,400 --> 01:04:46,200
In God's face, in my face,
in Hadass' face...
917
01:04:47,360 --> 01:04:50,520
As a production sound mixer,
one film that I'm very proud of
918
01:04:50,600 --> 01:04:53,120
is a film
that Patty Jenkins directed.
919
01:04:53,200 --> 01:04:54,960
It was called "Monster".
920
01:04:55,040 --> 01:04:58,600
It was about the serial killer,
Aileen Wuornos.
921
01:04:58,680 --> 01:05:00,280
You don't have to do this.
922
01:05:00,360 --> 01:05:02,040
Get down.
You don't.
923
01:05:02,120 --> 01:05:04,840
We captured
every little breath.
924
01:05:07,560 --> 01:05:11,240
Oh, God. Oh, God.
My wife. My wife.
925
01:05:12,040 --> 01:05:14,640
And my daughter is having a baby.
926
01:05:14,720 --> 01:05:17,560
Oh, God. Oh, God. I'm sorry.
927
01:05:17,640 --> 01:05:19,600
That was one of those moments
928
01:05:19,680 --> 01:05:22,200
where literally the hair stood
on the back of your neck
929
01:05:22,280 --> 01:05:24,240
at the end of the performance.
930
01:05:26,040 --> 01:05:29,520
But just all those things
that you battle as a sound mixer.
931
01:05:29,600 --> 01:05:32,600
You're dealing with wind.
That is never our friend.
932
01:05:34,720 --> 01:05:38,120
There's many, many things
that are required
933
01:05:38,200 --> 01:05:41,640
for things to look right on camera
that are noisy.
934
01:05:46,280 --> 01:05:48,440
I know the ships can sail
into the triangles not necessarily...
935
01:05:48,520 --> 01:05:51,320
Let's see who's guilty of putting me
in this dreadful pickle.
936
01:05:52,040 --> 01:05:54,720
And if you're hearing those,
that takes you out of the story.
937
01:05:57,200 --> 01:05:59,360
That's why we edit the dialogue.
938
01:06:04,240 --> 01:06:05,800
My mom is Kay Rose,
939
01:06:05,880 --> 01:06:09,000
and she was the first woman
to win an Oscar for sound.
940
01:06:10,200 --> 01:06:13,560
She could hear clicks and pops
that shouldn't be there,
941
01:06:13,640 --> 01:06:16,000
take it out, fill it with ambience,
942
01:06:16,880 --> 01:06:19,160
and it would be very smooth.
943
01:06:20,680 --> 01:06:24,240
"Ordinary People" was a movie
my mom and I worked on
944
01:06:24,320 --> 01:06:27,440
and it was one of the hardest
sound jobs we've ever done.
945
01:06:28,840 --> 01:06:34,000
The movie is about a family
affected by the death of their older son.
946
01:06:34,800 --> 01:06:37,800
The surviving son
goes to a psychiatrist.
947
01:06:37,880 --> 01:06:40,280
Uh, hi. Yeah. Come in.
It's OK. They all do that.
948
01:06:40,360 --> 01:06:44,320
They chose an aluminium warehouse
near an airport
949
01:06:44,400 --> 01:06:47,480
for these very intimate scenes
with the psychiatrist...
950
01:06:48,360 --> 01:06:50,200
Sit down.
951
01:06:54,320 --> 01:06:56,400
Which was awful.
952
01:06:58,080 --> 01:07:00,640
I had a fairly strong idea
about sound,
953
01:07:00,720 --> 01:07:03,600
but I had not directed a film before
so I needed help,
954
01:07:03,680 --> 01:07:05,520
and she did just a great job.
955
01:07:06,400 --> 01:07:08,400
It took weeks to try to get out
956
01:07:08,480 --> 01:07:13,800
the little clicks and pops and planes
for ten minutes of production dialogue.
957
01:07:13,880 --> 01:07:14,400
Weeks!
958
01:07:14,480 --> 01:07:16,400
You wanna tell me about it?
959
01:07:19,760 --> 01:07:22,120
The silence
was meant to illustrate pain,
960
01:07:24,160 --> 01:07:26,280
the disconnect between people.
961
01:07:26,360 --> 01:07:28,360
You can go upstairs
to that room of yours
962
01:07:28,440 --> 01:07:30,040
and clean out the closet,
963
01:07:30,920 --> 01:07:32,920
because it really is a mess.
964
01:07:37,520 --> 01:07:39,120
The dialogue department
965
01:07:39,200 --> 01:07:42,040
we're the queens of the soundtrack.
966
01:07:42,120 --> 01:07:44,760
Jake, my Jake!
967
01:07:44,840 --> 01:07:46,920
Everything falls apart without it.
968
01:07:47,000 --> 01:07:49,600
It's the thing that everything
has to work around.
969
01:07:50,520 --> 01:07:55,280
You don't want to lose a moment
in a film saying to your friend,
970
01:07:55,360 --> 01:07:57,360
"What did he say?"
971
01:07:57,880 --> 01:08:01,120
That's why sometimes
we need to shoot ADR.
972
01:08:07,560 --> 01:08:09,000
ADR stands for...
973
01:08:09,080 --> 01:08:10,080
Lilian...
974
01:08:10,160 --> 01:08:13,320
automated dialogue replacement.
975
01:08:14,480 --> 01:08:17,760
It's dialogue that's re-recorded
in a sound studio.
976
01:08:18,800 --> 01:08:19,800
Good.
977
01:08:19,880 --> 01:08:23,800
You pick out some lines
that might be really low to hear.
978
01:08:23,880 --> 01:08:28,840
The actors have to come in,
re-record, and then we, as editors,
979
01:08:28,920 --> 01:08:32,680
have to cut it to try to match
those peoples' mouths.
980
01:08:34,960 --> 01:08:38,480
So Beth Bergeron hired me
on "A League of Their Own".
981
01:08:38,560 --> 01:08:42,040
One of the scenes that I cut
was when Tom Hanks is yelling...
982
01:08:42,120 --> 01:08:44,120
There's no crying in baseball.
983
01:08:45,600 --> 01:08:49,600
Her crying on the set
was actually really kind of soft.
984
01:08:50,400 --> 01:08:53,280
Are you crying?
985
01:08:53,360 --> 01:08:58,280
And so in order to get her crying again,
you had to get Tom Hanks as well.
986
01:08:58,360 --> 01:08:59,840
Hey, hey, hey, hey, hey.
987
01:08:59,920 --> 01:09:01,840
Because they're overlapping
each other.
988
01:09:01,920 --> 01:09:04,720
All right.
Listen, listen, listen.
989
01:09:04,800 --> 01:09:06,760
Rogers Hornsby was my manager,
990
01:09:06,840 --> 01:09:08,800
and he called me
a talking pile of pig shit.
991
01:09:08,880 --> 01:09:10,560
So that way when they mix,
992
01:09:10,640 --> 01:09:12,760
they could then bring up her crying
when they need to.
993
01:09:12,840 --> 01:09:15,280
And did I cry?
No. No.
994
01:09:15,360 --> 01:09:17,360
No. Because there's no crying
in baseball.
995
01:09:17,440 --> 01:09:19,320
I loved working on that film.
996
01:09:24,040 --> 01:09:28,200
But our job is also to add
the background people,
997
01:09:28,280 --> 01:09:30,800
and that's what we call group ADR.
998
01:09:40,160 --> 01:09:44,120
Most people might not realise
that that whole opening of "Argo",
999
01:09:44,200 --> 01:09:46,600
the assumption is,
"Oh, that's all recorded on set,."
1000
01:09:48,600 --> 01:09:50,480
But the truth is
all of that's reconstructed.
1001
01:09:52,200 --> 01:09:55,720
We had over a hundred
Farsi-speaking Persian extras.
1002
01:09:58,520 --> 01:10:02,120
We were micing the crowd
from right in the middle of it,
1003
01:10:02,200 --> 01:10:06,120
and from behind windows,
from the rooftops.
1004
01:10:09,120 --> 01:10:12,280
After a few hours of this,
everyone was like hugging,
1005
01:10:12,360 --> 01:10:15,960
and a few people were crying,
and we found out that
1006
01:10:16,040 --> 01:10:20,760
some of our voice talent had
actually lived through the revolution.
1007
01:10:24,800 --> 01:10:26,640
And all of that emotion
that we were recording,
1008
01:10:26,720 --> 01:10:30,440
it became part of the DNA of the scene.
1009
01:10:46,240 --> 01:10:48,680
When people ask me
about working on "Selma"
1010
01:10:48,760 --> 01:10:51,960
I tell them it's the first film
that I worked on
1011
01:10:52,040 --> 01:10:53,840
that really meant something.
1012
01:10:57,720 --> 01:10:59,960
When they're on the bridge,
1013
01:11:00,040 --> 01:11:02,920
they're running for their lives
so they don't get killed.
1014
01:11:03,480 --> 01:11:08,360
You want the audience to feel the pain.
1015
01:11:16,480 --> 01:11:18,480
When I had people running by the mics,
1016
01:11:18,560 --> 01:11:20,680
it's more real
because it's got movement.
1017
01:11:20,760 --> 01:11:22,640
It's got cloth movement.
It's got feet.
1018
01:11:22,720 --> 01:11:25,760
They're turning their heads
and they're doing efforts,
1019
01:11:25,840 --> 01:11:27,600
and so it just sounds more real.
1020
01:11:29,800 --> 01:11:33,160
It was so important to me
to work on this film.
1021
01:11:34,320 --> 01:11:39,720
It allows me to relive some of the things,
as I was a child...
1022
01:11:40,960 --> 01:11:44,560
that speaks to
what people went through,
1023
01:11:44,640 --> 01:11:47,000
what we're still going through today.
1024
01:11:49,800 --> 01:11:52,920
I'm just really proud
that I was able to work on it.
1025
01:12:01,520 --> 01:12:03,520
Surrounding the voices in the movie
1026
01:12:03,600 --> 01:12:05,520
is a whole world of sound effects
1027
01:12:05,600 --> 01:12:08,000
created and cut by the sound editors,
1028
01:12:08,080 --> 01:12:10,800
and it consists of three distinct parts.
1029
01:12:12,520 --> 01:12:16,920
♪ Highway to the danger zone
1030
01:12:18,040 --> 01:12:21,360
I got hired to do "Top Gun"
with George Watters.
1031
01:12:22,080 --> 01:12:26,960
So I spent a week in San Diego
recording jets with John Fasal.
1032
01:12:31,440 --> 01:12:34,840
But the jets themselves
are not that interesting.
1033
01:12:36,240 --> 01:12:39,160
They sounded kind of wimpy.
1034
01:12:42,120 --> 01:12:48,080
So I created a library
of mostly exotic animal roars,
1035
01:12:48,800 --> 01:12:53,080
lions and tiger roars
and monkey screeches.
1036
01:13:01,720 --> 01:13:04,760
And that wound up being the thing.
1037
01:13:06,960 --> 01:13:09,600
It gave them a cutting, sharp feeling.
1038
01:13:18,240 --> 01:13:23,120
It's the most labour-intensive
editing process I've ever experienced.
1039
01:13:25,120 --> 01:13:26,920
It took forever,
1040
01:13:27,000 --> 01:13:31,640
which the studio was very frightened by
and didn't understand.
1041
01:13:31,720 --> 01:13:34,840
And so at one point
in the middle of this process,
1042
01:13:34,920 --> 01:13:37,320
there was an executive from the studio.
1043
01:13:37,400 --> 01:13:43,920
He came over to fire me, and he said,
"This movie isn't about the sound.”
1044
01:13:45,840 --> 01:13:50,440
But months later, we were nominated
for an Academy Award.
1045
01:13:51,880 --> 01:13:55,200
And I will say that he sent me flowers,
1046
01:13:55,280 --> 01:13:58,680
and the note said,
"I guess it was about the sound."
1047
01:14:00,120 --> 01:14:01,960
She's also a civilian contractor
1048
01:14:02,040 --> 01:14:05,040
so you do not salute her,
but you better listen to her.
1049
01:14:05,120 --> 01:14:08,920
People who say, "Well,
you know, it's a big action war movie.
1050
01:14:09,000 --> 01:14:10,960
"A guy should do the sound."
1051
01:14:11,040 --> 01:14:13,680
It's like, why?
Has he been in a war?
1052
01:14:17,280 --> 01:14:20,920
This idea of one gender
being better at it than another,
1053
01:14:21,000 --> 01:14:22,680
I think is kind of silly.
1054
01:14:24,240 --> 01:14:26,320
It's experience.
1055
01:14:27,880 --> 01:14:30,160
You're sitting in front
of this big piece of equipment
1056
01:14:30,240 --> 01:14:32,520
and it looks very complicated
and technical.
1057
01:14:32,600 --> 01:14:36,280
It's like you peek into the cockpit
and there's all that equipment.
1058
01:14:36,360 --> 01:14:38,360
It's like you want to have
some big guy
1059
01:14:38,440 --> 01:14:41,000
who looks like he was
in the Air Force in there,
1060
01:14:41,080 --> 01:14:45,080
'cause if anything goes wrong,
that person will... get a screwdriver.
1061
01:14:45,160 --> 01:14:48,640
I don't know,
because the job consists of
1062
01:14:48,720 --> 01:14:50,720
pushing little buttons
and turning little knobs,
1063
01:14:50,800 --> 01:14:53,800
and that's not particularly
a macho endeavour at all.
1064
01:14:57,000 --> 01:14:59,720
But if you don't see anybody
like yourself doing something,
1065
01:14:59,800 --> 01:15:02,480
then that doesn't seem like
a place you could fit in.
1066
01:15:12,520 --> 01:15:15,000
Foley is a subset of sound effects.
1067
01:15:20,720 --> 01:15:22,720
We're called Foley artists.
1068
01:15:22,800 --> 01:15:26,000
And truly what we do
is custom sound effects.
1069
01:15:29,240 --> 01:15:31,760
We're really like performers.
1070
01:15:32,960 --> 01:15:35,360
Getting into their mindset.
1071
01:15:40,480 --> 01:15:42,680
We really give them character.
1072
01:15:55,320 --> 01:15:57,920
It's that detail
that you don't really think about
1073
01:15:58,000 --> 01:16:00,080
that makes it come alive.
1074
01:16:03,520 --> 01:16:05,680
There's a famous story
where Jack Foley...
1075
01:16:06,280 --> 01:16:08,360
heard the director of "Spartacus"
1076
01:16:08,440 --> 01:16:10,920
bemoaning the fact
that the armour they were wearing,
1077
01:16:11,000 --> 01:16:13,200
sounded like tin pots.
1078
01:16:17,720 --> 01:16:20,360
They were saying, "We'll have
to go back and reshoot the picture."
1079
01:16:20,440 --> 01:16:22,040
Huge cost.
1080
01:16:22,120 --> 01:16:24,080
Jack said, "Wait a second."
1081
01:16:24,160 --> 01:16:27,040
He runs out to his car,
he grabs some props,
1082
01:16:27,120 --> 01:16:31,320
some big set of keys etc.,
comes in, and works his magic.
1083
01:16:41,360 --> 01:16:45,600
Which is kind of fun, because that's
what Foley really is for us. It's magic.
1084
01:16:53,120 --> 01:16:56,440
The last subset of sound effects
are ambiences,
1085
01:16:57,400 --> 01:16:59,200
atmospheric beds of sounds
1086
01:16:59,280 --> 01:17:01,880
that editors
lay underneath everything else.
1087
01:17:06,880 --> 01:17:09,200
I think
on any film, like "Lost in Translation",
1088
01:17:09,280 --> 01:17:13,360
building the world and the atmosphere,
the sound is such a big part of it
1089
01:17:13,440 --> 01:17:15,800
that you don't realise
until you're working on it.
1090
01:17:19,880 --> 01:17:21,480
Picking up all these little details
1091
01:17:21,560 --> 01:17:25,680
and adding these layers that makes
you feel like you're really there.
1092
01:17:31,000 --> 01:17:33,520
There's this whole other world
that it brings...
1093
01:17:35,160 --> 01:17:37,240
it's really half the movie.
1094
01:17:37,320 --> 01:17:40,600
It's a bed of sound in the scene
1095
01:17:40,680 --> 01:17:44,920
that sets you in that environment.
It could be traffic.
1096
01:17:47,080 --> 01:17:48,080
A bed of Cicadas.
1097
01:17:50,400 --> 01:17:52,440
The sound of a room...
1098
01:17:57,040 --> 01:17:59,160
or birds.
1099
01:18:00,960 --> 01:18:03,360
It has to be evocative.
1100
01:18:07,040 --> 01:18:09,760
When I was
11 years old, I had a mild case of polio.
1101
01:18:10,280 --> 01:18:12,840
So as a reward for getting better,
1102
01:18:12,920 --> 01:18:16,000
my mom drove me
to Yosemite National Park.
1103
01:18:16,080 --> 01:18:18,040
Once I went through that tunnel
and it opened up,
1104
01:18:18,120 --> 01:18:22,120
and I saw Half Dome and El Capitan,
I said, "Well, this is it for me."
1105
01:18:22,200 --> 01:18:24,400
I don't wanna look at this.
I wanna be in it.
1106
01:18:29,440 --> 01:18:34,280
The sound of those falls
rushing past me as I climbed up.
1107
01:18:35,640 --> 01:18:38,440
The power of water.
1108
01:18:40,040 --> 01:18:42,040
I like to use that in film.
1109
01:18:43,440 --> 01:18:45,520
I was working
on "A River Runs Through It",
1110
01:18:45,600 --> 01:18:47,640
and the sound designer just said,
1111
01:18:47,720 --> 01:18:49,760
"Look, I just need you to go out
and record sounds."
1112
01:18:52,440 --> 01:18:55,560
I knew every stream
within a hundred miles.
1113
01:18:58,280 --> 01:19:02,440
When I heard it back in the film,
I could feel the moisture of the stream,
1114
01:19:02,520 --> 01:19:06,040
and I could hear the presence
of this volume of air.
1115
01:19:08,960 --> 01:19:11,320
That hit me so heavily,
1116
01:19:12,920 --> 01:19:14,640
I thought to myself,
1117
01:19:14,720 --> 01:19:18,600
"This is me with my father fishing
as an eight-year-old boy."
1118
01:19:20,720 --> 01:19:27,400
It brings me to a really peaceful,
important time in my life.
1119
01:19:30,360 --> 01:19:33,800
Everything has emotion,
and therefore spirit.
1120
01:19:36,080 --> 01:19:38,720
Ang really wanted the wind
1121
01:19:38,800 --> 01:19:40,720
to have its own character
in this movie.
1122
01:19:47,080 --> 01:19:49,800
Wind sound was
very expressive for the characters.
1123
01:19:53,600 --> 01:19:56,600
How much they're quiet
about their feelings.
1124
01:19:59,040 --> 01:20:01,720
How much repression they endure.
1125
01:20:12,640 --> 01:20:14,920
That's the art of sound.
1126
01:20:15,920 --> 01:20:21,200
That ability to interpret expressively
things that are happening.
1127
01:20:23,160 --> 01:20:26,560
The final element
of the soundtrack is music.
1128
01:20:26,640 --> 01:20:29,120
It has a direct connection to emotion.
1129
01:20:36,160 --> 01:20:38,840
The great thing
about music is
1130
01:20:38,920 --> 01:20:45,120
it's there that you, as an audience,
can connect on a human level.
1131
01:20:46,960 --> 01:20:49,760
It has a way of inviting you in.
1132
01:20:51,880 --> 01:20:54,920
The way in which he records them,
the way in which they're executed
1133
01:20:55,000 --> 01:20:59,480
is extremely lavish and epic really.
1134
01:21:09,160 --> 01:21:11,640
I love that Hans doesn't give up,
1135
01:21:11,720 --> 01:21:17,120
and he just keeps trying to make it
better and better. He's obsessed.
1136
01:21:17,200 --> 01:21:19,240
Looks who's here.
1137
01:21:19,320 --> 01:21:23,440
I think the heart has to
come first and then the intellect follows.
1138
01:21:25,560 --> 01:21:27,720
Hey, guys.
1139
01:21:28,440 --> 01:21:31,560
Daddy.
Hey, how are you?
1140
01:21:33,960 --> 01:21:37,960
Your job is to come up
with the unimaginable for them.
1141
01:21:47,320 --> 01:21:49,640
You think about people's
favourite movie moments
1142
01:21:49,720 --> 01:21:52,480
and it's usually a score element.
1143
01:21:54,440 --> 01:21:56,440
"Black Panther" was set in Africa,
1144
01:21:56,520 --> 01:21:59,080
and music is so important
in setting that up.
1145
01:22:01,640 --> 01:22:05,160
So my composer,
he was the first person I called.
1146
01:22:05,240 --> 01:22:07,320
When I write music
for any of his projects,
1147
01:22:07,400 --> 01:22:10,680
I'm always pushing myself
to another kind of level.
1148
01:22:10,760 --> 01:22:13,440
Music is what ties
the whole thing together.
1149
01:22:16,680 --> 01:22:19,080
Experimenting in contemporary music...
1150
01:22:22,680 --> 01:22:24,480
but also not being scared
1151
01:22:24,560 --> 01:22:27,560
to bring in the classic,
really heroic theme.
1152
01:22:35,040 --> 01:22:39,960
And how do we tie that together
in one consistent piece of music?
1153
01:22:40,040 --> 01:22:43,960
We're going to write something new,
create something completely different.
1154
01:22:44,040 --> 01:22:46,480
Then we watched it
and it was like, "This is perfect."
1155
01:23:00,720 --> 01:23:03,040
And a song can do in three minutes
1156
01:23:03,120 --> 01:23:05,440
what a really great movie
needs hours to do.
1157
01:23:08,440 --> 01:23:11,760
It's the collaborative
effort of all those people...
1158
01:23:14,920 --> 01:23:18,080
that make that soundtrack what it is.
1159
01:23:19,640 --> 01:23:24,360
And the very last step is to provide
that to the sound mixing stage.
1160
01:23:28,800 --> 01:23:31,840
Re-recording mixing
is a key component of film sound.
1161
01:23:33,280 --> 01:23:36,120
You take all the elements
from the sound editors
1162
01:23:36,200 --> 01:23:39,440
and you finally bring them together
like a conductor would.
1163
01:23:43,280 --> 01:23:45,840
You may turn up the music
to enhance the emotion.
1164
01:23:56,280 --> 01:23:59,280
You may turn up the
sound effects to add a visceral punch.
1165
01:24:08,000 --> 01:24:11,760
Or you may turn them both down
to focus on a line of dialogue.
1166
01:24:12,680 --> 01:24:15,000
I'm glad it's you...
1167
01:24:21,200 --> 01:24:25,320
Mixing also involves thinking about
where sounds are placed on the screen
1168
01:24:25,400 --> 01:24:27,360
and how they move.
1169
01:24:27,440 --> 01:24:31,480
We used this panning
technique everywhere in "Roma".
1170
01:24:31,560 --> 01:24:34,960
Like what components could go
from that side to that side,
1171
01:24:35,040 --> 01:24:37,000
left, centre, right.
1172
01:24:39,760 --> 01:24:44,040
Have the voices move that way
when the camera pans that way.
1173
01:24:49,240 --> 01:24:53,000
Alfonso was constantly trying to get us
to keep things moving.
1174
01:24:56,800 --> 01:25:00,480
"Roma" is filled with a lot of
foreground/background sounds.
1175
01:25:00,560 --> 01:25:02,680
The film is very aural.
1176
01:25:02,760 --> 01:25:05,640
There are a lot of sounds going on.
1177
01:25:07,000 --> 01:25:10,760
The dance between the elements
is what I consider cinematic.
1178
01:25:23,160 --> 01:25:25,560
This is what the core of mixing is...
1179
01:25:25,640 --> 01:25:30,640
taking all these components,
creating a place for them all.
1180
01:25:33,440 --> 01:25:35,800
So it's just really
building the tracks slowly...
1181
01:25:37,280 --> 01:25:39,440
having everything play
harmoniously.
1182
01:25:44,600 --> 01:25:48,920
At one point you go, "OK, we got
a movie. "Sounds like a movie."
1183
01:26:01,480 --> 01:26:04,480
When you feel those goosebumps
then you've done it right.
1184
01:26:09,360 --> 01:26:14,880
The circle of talent
is a collaborative group of people
1185
01:26:14,960 --> 01:26:19,320
that spend hours and hours
and days and days in the trenches
1186
01:26:19,400 --> 01:26:22,040
that are doing all the work.
1187
01:26:22,120 --> 01:26:26,000
And if people have to try
and find meaning in what they do,
1188
01:26:26,080 --> 01:26:28,760
it's the group of people
that you're working with.
1189
01:26:30,440 --> 01:26:33,720
But it's easy to lose sight of that.
1190
01:26:35,280 --> 01:26:38,600
Because I had public success
so quickly in my career,
1191
01:26:40,040 --> 01:26:43,160
you come to work every day
thinking you're an Oscar-winning genius.
1192
01:26:43,240 --> 01:26:44,880
Thank you very much.
1193
01:26:44,960 --> 01:26:48,480
But you can't put that
kind of pressure on yourself,
1194
01:26:48,560 --> 01:26:52,360
that each time you do something
it's going to shake the world.
1195
01:26:53,440 --> 01:26:56,080
And it led to
a nervous breakdown.
1196
01:26:56,160 --> 01:26:58,200
It finally came one day.
I couldn't work anymore.
1197
01:26:58,280 --> 01:27:01,400
I was just sitting at the console
crying to myself.
1198
01:27:01,480 --> 01:27:04,800
Didn't know why. It was because
I had invested too much in it.
1199
01:27:08,720 --> 01:27:11,360
One of the main things
I would always try to do
1200
01:27:11,440 --> 01:27:14,160
was get home for dinner
with my family.
1201
01:27:15,760 --> 01:27:18,760
I have to appreciate my wife, Peggy,
on all the years,
1202
01:27:18,840 --> 01:27:22,640
she's dragged me back
out of my world of make-believe.
1203
01:27:24,600 --> 01:27:29,080
Don't lose your foot.
Plant it in something outside.
1204
01:27:30,760 --> 01:27:32,640
Those are good things.
1205
01:27:36,040 --> 01:27:38,040
You get to the point
where you realise
1206
01:27:38,120 --> 01:27:40,720
that you want to be happy
doing the work you're doing.
1207
01:27:40,800 --> 01:27:44,280
The pleasure is on...
what happens on a daily basis.
1208
01:27:44,360 --> 01:27:46,840
You come on any given Tuesday
1209
01:27:47,400 --> 01:27:51,760
and you're working with making
pass-bys out of bicycle rattling.
1210
01:27:53,680 --> 01:27:59,560
If you can enjoy that and see that
for what it is for a daily task,
1211
01:27:59,640 --> 01:28:02,280
then that's where
the pleasure will lie.
1212
01:28:05,560 --> 01:28:09,120
I love what I do.
It's very tedious.
1213
01:28:09,200 --> 01:28:11,280
It's very time-consuming.
1214
01:28:11,360 --> 01:28:16,800
But when I can play something back
and I can feel it, I was like, "Oh, man."
1215
01:28:16,880 --> 01:28:19,360
You know, it's just...
it's really satisfying.
1216
01:28:21,200 --> 01:28:24,160
I just couldn't believe
I was getting paid real money
1217
01:28:24,240 --> 01:28:25,800
to have so much fun.
1218
01:28:27,240 --> 01:28:29,400
I always say
I would hate to have a real job.
1219
01:28:31,160 --> 01:28:32,960
Pinch myself every day.
1220
01:28:35,880 --> 01:28:37,920
Even in my early sound career,
1221
01:28:38,000 --> 01:28:40,800
I remember how magical it felt to me.
1222
01:28:42,600 --> 01:28:45,640
Movies were a place to have emotion
that was safe.
1223
01:28:46,440 --> 01:28:49,160
Of all the ways,
all the things I can do in movies
1224
01:28:49,240 --> 01:28:51,760
or have done in movies,
sound is still the best way
1225
01:28:51,840 --> 01:28:54,560
to experience emotion
working on a movie to me.
1226
01:28:56,200 --> 01:29:00,800
So the creation of
the sound film made sound an art form.
1227
01:29:06,000 --> 01:29:07,920
It's been very valuable
1228
01:29:08,000 --> 01:29:10,760
in the evolution
of human's relationship
1229
01:29:10,840 --> 01:29:12,880
to the cosmos.
1230
01:29:15,240 --> 01:29:18,600
The work you all do
make massive contributions
1231
01:29:18,680 --> 01:29:20,600
to the telling of the story.
1232
01:29:21,800 --> 01:29:24,920
And I love all your cleverness
and ingenuity,
1233
01:29:25,000 --> 01:29:27,120
and I love the sense of fun.
1234
01:29:30,320 --> 01:29:32,760
It makes these moments eternal.
1235
01:29:36,440 --> 01:29:38,400
You know how to whistle,
don't you, Steve?
1236
01:29:41,080 --> 01:29:43,240
Come on, men!
1237
01:30:00,520 --> 01:30:05,360
I'll be right here.
1238
01:30:06,680 --> 01:30:09,320
Run, Forrest, run!
1239
01:30:11,760 --> 01:30:13,840
Hold on!
1240
01:30:24,057 --> 01:30:29,057
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