All language subtitles for waafz

af Afrikaans
sq Albanian
am Amharic
ar Arabic
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bn Bengali
bs Bosnian
bg Bulgarian
ca Catalan
ceb Cebuano
ny Chichewa
zh-CN Chinese (Simplified)
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
cs Czech
da Danish
nl Dutch Download
en English
eo Esperanto
et Estonian
tl Filipino
fi Finnish
fr French
fy Frisian
gl Galician
ka Georgian
de German
el Greek
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hmn Hmong
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
km Khmer
ko Korean
ku Kurdish (Kurmanji)
ky Kyrgyz
lo Lao
la Latin
lv Latvian
lt Lithuanian
lb Luxembourgish
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mn Mongolian
my Myanmar (Burmese)
ne Nepali
no Norwegian
ps Pashto
fa Persian
pl Polish
pt Portuguese
pa Punjabi
ro Romanian
ru Russian
sm Samoan
gd Scots Gaelic
sr Serbian
st Sesotho
sn Shona
sd Sindhi
si Sinhala
sk Slovak
sl Slovenian
so Somali
es Spanish
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
te Telugu
th Thai
tr Turkish
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese
cy Welsh
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
or Odia (Oriya)
rw Kinyarwanda
tk Turkmen
tt Tatar
ug Uyghur
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:26,440 --> 00:00:31,440 Subtitles by explosiveskull www.OpenSubtitles.org 2 00:00:39,800 --> 00:00:43,040 Before we were born, you're looking at darkness. 3 00:00:44,520 --> 00:00:47,640 Sound is the first sense that gets plugged in. 4 00:00:50,320 --> 00:00:52,920 Six months, seven months into the womb. 5 00:00:53,000 --> 00:00:54,800 It's hearing the mother's heartbeat. 6 00:00:54,880 --> 00:00:56,800 It's hearing her breathing. 7 00:00:56,880 --> 00:01:00,200 It's hearing Dad shouting from the garage... 8 00:01:04,040 --> 00:01:06,000 It's making sense of the world. 9 00:01:14,240 --> 00:01:17,520 You have emerged into a kind of consciousness 10 00:01:18,040 --> 00:01:19,800 using only sound. 11 00:01:21,680 --> 00:01:23,560 And then you're born. 12 00:01:27,280 --> 00:01:32,000 Sound affects us in a deeper way almost than image does. 13 00:01:32,080 --> 00:01:33,480 It goes deeper. 14 00:01:41,560 --> 00:01:42,840 Oh. 15 00:01:49,160 --> 00:01:52,720 And yet, we're naturally, seemingly oblivious to that. 16 00:01:54,760 --> 00:01:57,280 Film sound is an illusionary art, 17 00:01:58,320 --> 00:02:01,000 as if you're just hearing the natural sounds... 18 00:02:03,840 --> 00:02:05,960 ...happening in the world on screen. 19 00:02:10,120 --> 00:02:11,640 It's subliminal 20 00:02:11,720 --> 00:02:14,680 and a purely emotional way of thinking about a movie. 21 00:02:19,600 --> 00:02:21,800 It's stealthy, sound work. 22 00:02:21,880 --> 00:02:23,840 It's flying under the radar. 23 00:02:25,520 --> 00:02:27,560 It's understated. 24 00:02:30,040 --> 00:02:33,320 But what sound adds to the picture 25 00:02:33,960 --> 00:02:38,840 is so exhilarating that I just was hooked, 26 00:02:38,920 --> 00:02:41,760 and pretty much never looked back. 27 00:02:43,240 --> 00:02:45,680 You're depressed, it's not working, then the sound design comes in... 28 00:02:45,760 --> 00:02:48,400 The feeling of scale that the sound was giving... 29 00:02:48,480 --> 00:02:52,800 And I think that sound, in many ways is more tied to imagination. 30 00:02:55,760 --> 00:02:59,840 If you're born to be artistic, sound is going to be part of the deal. 31 00:02:59,920 --> 00:03:02,320 It's part of being human. 32 00:03:02,400 --> 00:03:04,600 Movie is sight and sound. 33 00:03:04,680 --> 00:03:06,800 You only express it with sight and sound. 34 00:03:10,400 --> 00:03:13,840 People always talk about the look of a film. 35 00:03:13,920 --> 00:03:18,000 They don't talk so much about the sound of a film. 36 00:03:19,040 --> 00:03:21,840 But it's equally important, sometimes more important. 37 00:03:21,920 --> 00:03:25,440 I am not an animal. 38 00:03:25,520 --> 00:03:28,240 The point is to convey an emotion. 39 00:03:30,960 --> 00:03:33,000 Everything is in service of that. 40 00:03:42,800 --> 00:03:45,280 And sound is half of the experience. 41 00:04:00,360 --> 00:04:02,760 I've always been of the belief that 42 00:04:02,840 --> 00:04:06,520 our ears lead our eyes to where the story lives. 43 00:04:13,360 --> 00:04:15,440 When designing sound on a film today, 44 00:04:15,520 --> 00:04:17,640 like "Saving Private Ryan", 45 00:04:17,720 --> 00:04:21,480 you're bringing together a rich complex orchestration of sounds. 46 00:04:22,520 --> 00:04:25,200 On every film I've worked on with Steven Spielberg, 47 00:04:25,280 --> 00:04:28,480 he gives a gift of here's a scene, here's a moment, 48 00:04:28,560 --> 00:04:32,240 and I'm counting on sound to help tell the story. Here you go. 49 00:04:44,840 --> 00:04:46,240 What strikes me most about, 50 00:04:46,320 --> 00:04:48,520 especially the opening of "Private Ryan", 51 00:04:48,600 --> 00:04:50,600 is that it was designed to use sound 52 00:04:50,680 --> 00:04:53,080 to tell a part of the story it's not showing you. 53 00:04:55,120 --> 00:04:57,680 So a scene like that fully takes advantage 54 00:04:57,760 --> 00:05:02,400 of how a soldier takes in war, which is a pretty narrow point of view. 55 00:05:04,000 --> 00:05:06,080 Move. Move. 56 00:05:06,880 --> 00:05:09,000 Sound got to handle the scale of it. 57 00:05:09,080 --> 00:05:11,440 We spent a lot of time on that first 25 minutes. 58 00:05:11,520 --> 00:05:15,720 It was weeks and weeks of just balancing all the sound effects 59 00:05:15,800 --> 00:05:17,480 that Gary and his crew provided. 60 00:05:23,320 --> 00:05:27,160 I kind of came up with a certain pattern or rhythm 61 00:05:27,240 --> 00:05:33,360 of cutting these machine guns for the background battle. 62 00:05:35,760 --> 00:05:38,560 So that there was some form to this battle. 63 00:05:41,600 --> 00:05:44,480 There's always a rhythm. Even to chaos, there's a rhythm. 64 00:05:48,200 --> 00:05:50,240 Point of view is great for sound 65 00:05:50,320 --> 00:05:53,480 because it allows you to go inside the head. 66 00:05:55,640 --> 00:05:57,240 So I designed a sequence, 67 00:05:57,320 --> 00:05:59,760 where when an explosion hits near Captain Miller, 68 00:05:59,840 --> 00:06:01,880 all the sound goes out. 69 00:06:02,680 --> 00:06:04,680 That came from an actual veteran 70 00:06:04,760 --> 00:06:07,320 that told me that was how it affected him. 71 00:06:08,280 --> 00:06:11,120 So it put you deep inside his experience. 72 00:06:15,480 --> 00:06:18,200 If you look at it, it never has, until the battle is over, 73 00:06:18,280 --> 00:06:23,920 a wide shot, that gives you a grand scale "Longest Day" style of D-Day. 74 00:06:24,000 --> 00:06:25,520 It doesn't do it. It's all very intimate. 75 00:06:27,120 --> 00:06:30,320 And very importantly, there's no score. 76 00:06:30,400 --> 00:06:33,400 John Williams would've done a beautiful score with a whole different feeling, 77 00:06:33,480 --> 00:06:37,000 but without score it tells you this is real. 78 00:06:39,480 --> 00:06:42,000 When the score comes in, the score is often used... 79 00:06:42,080 --> 00:06:44,240 I think of it as like a life raft. 80 00:06:44,320 --> 00:06:47,160 You have an emotional moment and the score comes in. 81 00:06:47,240 --> 00:06:49,360 It just gives you something to hold onto. 82 00:06:58,560 --> 00:07:01,480 These different elements of sound in movies - 83 00:07:01,560 --> 00:07:04,880 music, sound effects and voice, 84 00:07:04,960 --> 00:07:07,560 are similar to the instrument groupings of an orchestra. 85 00:07:11,720 --> 00:07:14,160 But film sound work wasn't always like that. 86 00:07:15,320 --> 00:07:19,360 You know, with dozens of sound editors editing thousands of tracks. 87 00:07:22,600 --> 00:07:25,640 It ultimately took people like Ben Burtt on "Star Wars" 88 00:07:25,720 --> 00:07:28,040 and Walter Murch on "Apocalypse Now", 89 00:07:28,120 --> 00:07:30,240 to get us to the full immersive soundtrack 90 00:07:30,320 --> 00:07:33,120 that the audience has come to expect in movies today... 91 00:07:34,040 --> 00:07:38,040 ...created by a team of sound artists, a circle of talent. 92 00:07:38,600 --> 00:07:40,280 No! 93 00:07:40,880 --> 00:07:43,760 But when it all started, movies were silent. 94 00:07:52,640 --> 00:07:56,000 Mary had a little lamb Its fleece was white as snow 95 00:07:56,080 --> 00:08:00,080 And everywhere that Mary went The lamb was sure to go 96 00:08:00,160 --> 00:08:01,520 The invention of the phonograph 97 00:08:01,600 --> 00:08:04,440 was a monumental step for humanity. 98 00:08:04,520 --> 00:08:06,960 We could now capture sound forever. 99 00:08:08,600 --> 00:08:12,640 Edison originally developed the motion picture camera 100 00:08:12,720 --> 00:08:16,480 because he wanted images to go along with his phonograph. 101 00:08:17,720 --> 00:08:20,440 So the audio came first. 102 00:08:20,520 --> 00:08:22,440 But picture works at one speed. 103 00:08:22,520 --> 00:08:24,240 Sound is at another. 104 00:08:25,760 --> 00:08:27,760 They had no way to put it in sync, 105 00:08:27,840 --> 00:08:30,480 which is why the whole project was abandoned. 106 00:08:31,840 --> 00:08:34,360 They were just so eager to put sound to movies 107 00:08:34,440 --> 00:08:36,880 because everybody knew this would elevate the experience. 108 00:08:38,680 --> 00:08:41,920 Films were projected with a full live orchestra. 109 00:08:42,000 --> 00:08:45,320 They could be projected with people talking behind the screen. 110 00:08:46,520 --> 00:08:47,920 There were actually people that travelled around 111 00:08:48,000 --> 00:08:50,800 doing sound effects live to silent films. 112 00:08:52,880 --> 00:08:55,880 There's films like "Wings" when it played in New York, 113 00:08:55,960 --> 00:08:58,160 and its big premieres, it had performers on stage 114 00:08:58,240 --> 00:09:00,840 doing live sound effects for airplane engines, 115 00:09:00,920 --> 00:09:04,680 and using percussion instruments for the boom of artillery and explosions. 116 00:09:05,560 --> 00:09:08,080 They could do wind, galloping horse hooves... 117 00:09:10,520 --> 00:09:14,680 There just wasn't technically a way of capturing and recording the sounds, 118 00:09:14,760 --> 00:09:17,240 and attaching them to the movies yet. 119 00:09:19,120 --> 00:09:20,720 Until 1926. 120 00:09:20,800 --> 00:09:23,920 Warner Bros. did "Don Juan" with John Barrymore. 121 00:09:25,400 --> 00:09:28,640 It actually had a synchronised music track, 122 00:09:29,760 --> 00:09:32,800 which was mechanically connected to a projector. 123 00:09:38,600 --> 00:09:43,200 Then in 1927, they actually recorded dialogue on the set, 124 00:09:43,280 --> 00:09:46,520 and so "The Jazz Singer" had spoken portions of it. 125 00:09:47,520 --> 00:09:49,600 ♪ Toot, toot, Tootsie, goodbye 126 00:09:51,080 --> 00:09:53,320 ♪ Toot, toot, Tootsie, don't cry 127 00:09:54,520 --> 00:09:57,040 Warner Bros. Theater in New York City, 128 00:09:57,120 --> 00:09:59,000 where "The Jazz Singer" is now playing, 129 00:09:59,080 --> 00:10:01,520 is sold out for many weeks in advance. 130 00:10:01,600 --> 00:10:05,280 What struck people most was Al Jolson's speaking voice, 131 00:10:05,360 --> 00:10:06,600 not his singing voice. 132 00:10:06,680 --> 00:10:09,160 That he spoke was revolutionary to audiences. 133 00:10:09,240 --> 00:10:10,720 That's what they wanted to hear. 134 00:10:10,800 --> 00:10:12,760 Wait a minute. Wait a minute. 135 00:10:12,840 --> 00:10:14,440 You ain't heard nothing yet. 136 00:10:14,520 --> 00:10:15,800 Wait, I tell you. 137 00:10:15,880 --> 00:10:17,880 You ain't heard nothing. 138 00:10:23,280 --> 00:10:25,920 It was a gigantic sensation, 139 00:10:26,000 --> 00:10:29,120 so Hollywood was faced with what to do now. 140 00:10:29,200 --> 00:10:33,040 They had developed a way of shooting movies without sound, 141 00:10:33,120 --> 00:10:35,240 and that involved certain freedom on a set 142 00:10:35,320 --> 00:10:38,760 to be in a noisy place because it didn't matter. 143 00:10:38,840 --> 00:10:41,360 Suddenly, there was this revolution when they had to start 144 00:10:41,440 --> 00:10:43,720 entombing the productions in sound stages, 145 00:10:43,800 --> 00:10:45,960 so all sound was blocked out from the outside world. 146 00:10:47,760 --> 00:10:50,800 All right. Here we go. Quiet. 147 00:10:50,880 --> 00:10:52,000 - Quiet. - Quiet. 148 00:10:52,080 --> 00:10:53,360 Roll 'em. 149 00:10:53,440 --> 00:10:56,320 But the microphone's ranges were so short, 150 00:10:56,400 --> 00:10:58,280 the actors couldn't even move. 151 00:10:59,480 --> 00:11:02,840 She's got to talk into the mic. I can't pick it up. 152 00:11:05,000 --> 00:11:07,400 Don't you remember, I told you, 153 00:11:07,480 --> 00:11:11,560 there's a microphone right there, in the bush. 154 00:11:14,080 --> 00:11:15,880 It was very limiting. 155 00:11:23,760 --> 00:11:25,800 Cut. 156 00:11:25,880 --> 00:11:31,440 But despite the limitations, audiences loved sound. 157 00:11:32,200 --> 00:11:35,360 And I think it's because even in the sound of a human voice, 158 00:11:35,440 --> 00:11:36,840 we carry emotion. 159 00:11:36,920 --> 00:11:38,400 Antonio? 160 00:11:38,480 --> 00:11:41,240 Nein, nein, nein! 161 00:11:41,320 --> 00:11:43,280 It's alive! 162 00:11:47,600 --> 00:11:49,600 But the addition of the voice was not the only thing 163 00:11:49,680 --> 00:11:52,200 that changed in movies at that time. 164 00:11:52,280 --> 00:11:53,680 Filmmakers began to realise 165 00:11:53,760 --> 00:11:56,400 that sound effects were also an important part of cinema. 166 00:12:00,440 --> 00:12:04,120 They discovered that you don't get all the sound effects you want 167 00:12:04,200 --> 00:12:06,520 by just hanging a microphone out over the set. 168 00:12:06,600 --> 00:12:08,160 The sounds aren't there. 169 00:12:09,200 --> 00:12:13,280 So this is where slowly the idea of the sound editor evolved - 170 00:12:14,200 --> 00:12:16,800 to add sounds after the fact. 171 00:12:18,440 --> 00:12:20,520 There's fire, explosions, 172 00:12:20,600 --> 00:12:22,800 barnyard animals. 173 00:12:22,880 --> 00:12:24,120 Cars and... 174 00:12:24,200 --> 00:12:25,200 Motorcycles. 175 00:12:25,280 --> 00:12:28,360 Different from buses, different from trains. 176 00:12:28,440 --> 00:12:31,240 With a bit of wind in the background and this rain... 177 00:12:34,600 --> 00:12:37,520 As sound editors, we create a sound world 178 00:12:38,040 --> 00:12:40,600 independent of what got recorded at the time of shooting. 179 00:12:48,640 --> 00:12:51,320 But it isn't probably till you get to "King Kong", 180 00:12:51,400 --> 00:12:53,520 that you could actually call it sound design. 181 00:13:00,880 --> 00:13:03,840 Many techniques we use to manipulate sound today 182 00:13:03,920 --> 00:13:06,480 were pioneered on that film. 183 00:13:06,560 --> 00:13:10,080 The bulk of it is all about characters that don't exist 184 00:13:10,160 --> 00:13:14,160 so Murray Spivack had to get creative to find the right sound. 185 00:13:15,960 --> 00:13:20,200 I went to the Selig Zoo at the time. 186 00:13:21,240 --> 00:13:23,640 I got all the roars I needed. 187 00:13:24,480 --> 00:13:28,240 I then slowed those down to half speed, 188 00:13:29,680 --> 00:13:36,920 and I played the tiger growl backwards against the lion roar forward. 189 00:13:37,480 --> 00:13:40,360 And it gave me a sort of an uncanny roar. 190 00:13:43,040 --> 00:13:46,040 These sound design tricks are still used today. 191 00:13:46,600 --> 00:13:48,840 And that was a big step forward. 192 00:13:49,680 --> 00:13:52,800 But Murray Spivack operated outside the system. 193 00:13:53,360 --> 00:13:56,520 He was locked away in the music department, 194 00:13:56,600 --> 00:13:58,600 and no one knew what he was doing. 195 00:14:00,320 --> 00:14:03,680 I think they felt the studio would say, "Don't bother with all that," 196 00:14:03,760 --> 00:14:06,960 if they knew the kind of effort he was putting into it... 197 00:14:08,760 --> 00:14:11,520 ...because the studios had their own collections 198 00:14:11,600 --> 00:14:15,040 and their own stock sound effects. They would repeat them. 199 00:14:15,120 --> 00:14:18,080 They wouldn't change them over the years. 200 00:14:18,160 --> 00:14:20,560 Each studio had its own ricochet... 201 00:14:21,640 --> 00:14:25,280 ...and face punch and explosion. 202 00:14:27,160 --> 00:14:30,560 If they worked successfully, they'd be kept and used over and over again. 203 00:14:37,920 --> 00:14:39,280 Ow. 204 00:14:39,360 --> 00:14:43,560 They were just expected to get something in there and on budget. 205 00:14:46,840 --> 00:14:49,960 But some of the biggest innovations in film sound 206 00:14:50,040 --> 00:14:51,840 actually had their roots in radio. 207 00:14:51,920 --> 00:14:57,760 Who knows what evil lurks in the hearts of men. 208 00:14:58,440 --> 00:14:59,840 "The Shadow"or"The Whistler"- 209 00:14:59,920 --> 00:15:02,160 any of those shows were fun to listen to. 210 00:15:02,920 --> 00:15:05,120 The sound brought it to life. 211 00:15:06,640 --> 00:15:08,920 Doors opening and closing, and footsteps. 212 00:15:10,320 --> 00:15:12,000 Come in. We'll go in the kitchen. 213 00:15:12,080 --> 00:15:15,000 It's not Marlo playing chef again. What is it this time? 214 00:15:16,160 --> 00:15:20,440 I remember lying on the floor in front of the radio console. 215 00:15:20,520 --> 00:15:25,640 I thought, "When I grow up, I'm gonna make footsteps like that." 216 00:15:25,720 --> 00:15:29,400 Your imagination could dramatise what you were hearing. 217 00:15:29,480 --> 00:15:32,520 I just thought it was really great. It was great for your imagination, 218 00:15:32,600 --> 00:15:35,000 great for your creative spirit, and so forth. 219 00:15:35,880 --> 00:15:39,560 An innovator here was Orson Welles. 220 00:15:39,640 --> 00:15:43,360 He was very adventuresome in sound perspective. 221 00:15:44,520 --> 00:15:46,720 Now the smoke's crossing 6th Avenue, 222 00:15:47,400 --> 00:15:48,960 5th Avenue... 223 00:15:49,040 --> 00:15:50,760 A hundred yards away... 224 00:15:54,920 --> 00:15:57,320 So when he did "Citizen Kane", 225 00:15:57,400 --> 00:16:02,120 he brought those techniques in sound from radio to film. 226 00:16:02,200 --> 00:16:03,920 Rosebud. 227 00:16:05,200 --> 00:16:07,640 By being as aggressive spatially with sound 228 00:16:07,720 --> 00:16:10,440 as he was with his depth of focus on camera. 229 00:16:10,520 --> 00:16:13,360 Charlie, what time is it? 230 00:16:13,440 --> 00:16:14,920 11:30. 231 00:16:15,000 --> 00:16:16,520 In New York? 232 00:16:17,960 --> 00:16:19,200 Hm? 233 00:16:20,080 --> 00:16:23,640 This idea that every space has its own signature. 234 00:16:25,040 --> 00:16:27,280 The sound energises the environment. 235 00:16:27,360 --> 00:16:31,000 Now in complete control of the government of this state. 236 00:16:32,120 --> 00:16:36,640 And you can use even very refined elements of reverberation 237 00:16:36,720 --> 00:16:38,440 to help you tell your story. 238 00:16:40,320 --> 00:16:43,800 But this was a new innovation for sound in film. 239 00:16:43,880 --> 00:16:46,400 The norm from the 1930s to the 1960s 240 00:16:47,040 --> 00:16:49,680 was to emphasise music over sound effects. 241 00:16:50,560 --> 00:16:53,800 Why don't you say it, you coward? You're afraid to marry me. 242 00:16:53,880 --> 00:16:55,440 You'd rather live with that silly little fool 243 00:16:55,520 --> 00:16:57,400 who can't open her mouth except say, "Yes", "No" 244 00:16:57,480 --> 00:16:59,840 and raise a passel of mealy-mouthed brats just like her! 245 00:16:59,920 --> 00:17:01,920 You mustn't say things like that about Melanie. 246 00:17:02,000 --> 00:17:03,600 Who are you to tell me I mustn't?! 247 00:17:03,680 --> 00:17:06,520 But if you run music all the time in the film, 248 00:17:06,600 --> 00:17:10,120 it has a cumulatively counterproductive effect. 249 00:17:10,200 --> 00:17:11,960 Constantly injecting steroids. 250 00:17:20,240 --> 00:17:22,880 But if you want unrelieved tension, 251 00:17:22,960 --> 00:17:24,560 don't use any music at all. 252 00:17:28,840 --> 00:17:32,080 Hitchcock got the power of sound. 253 00:17:32,160 --> 00:17:35,480 He actually essentially dictated a sound script. 254 00:17:36,320 --> 00:17:39,680 And he really incorporated the use of the sound 255 00:17:39,760 --> 00:17:42,200 into the concept of the film. 256 00:17:59,560 --> 00:18:01,960 Hearing their breaths and feeling the impacts 257 00:18:02,040 --> 00:18:06,360 and the hits, they kept you very connected right with the characters. 258 00:18:08,400 --> 00:18:11,160 That was a scene where it worked really well, 259 00:18:11,240 --> 00:18:12,960 just having effects on their own. 260 00:18:16,000 --> 00:18:17,840 David Lean focused on sound. 261 00:18:20,280 --> 00:18:22,080 Stanley Kubrick focused on sound. 262 00:18:30,320 --> 00:18:33,800 But the studios weren't encouraging of that kind of thing. 263 00:18:36,000 --> 00:18:39,520 The Hollywood studio system often had a built-in approach 264 00:18:39,600 --> 00:18:42,040 to film sound that was controlled and traditional... 265 00:18:46,000 --> 00:18:48,680 ...parallel to filmmakers making the same kind of movies 266 00:18:48,760 --> 00:18:50,160 over and over again. 267 00:18:50,240 --> 00:18:51,840 ♪ Pillow talk 268 00:18:51,920 --> 00:18:55,400 ♪ Girls, girls, girls, girls 269 00:18:55,480 --> 00:19:00,040 ♪ Beach Blanket Bingo, that's the name of the game 270 00:19:01,600 --> 00:19:04,760 It was looked upon as like a factory. 271 00:19:04,840 --> 00:19:08,800 And that tends to restrict the adventuresomeness, 272 00:19:08,880 --> 00:19:11,200 especially in a studio environment. 273 00:19:12,360 --> 00:19:15,400 So the Hollywood films I'd seen as a kid growing up 274 00:19:15,480 --> 00:19:18,280 didn't make me want to become a filmmaker. 275 00:19:18,360 --> 00:19:21,920 To my way of thinking, they were corporate creations. 276 00:19:26,720 --> 00:19:28,560 But when I was 10, 277 00:19:28,640 --> 00:19:32,200 I learned that there was such a thing as a tape recorder. 278 00:19:33,720 --> 00:19:38,600 And I understood intuitively what it did and how it did it. 279 00:19:39,480 --> 00:19:41,920 Enemy tripod machines now in sight. 280 00:19:42,000 --> 00:19:45,360 I would record from the radio onto the tape recorder. 281 00:19:45,440 --> 00:19:47,440 "War of the Worlds" by H.G. Wells. 282 00:19:47,520 --> 00:19:51,680 And then cut the tape into pieces, and then rearrange the pieces 283 00:19:51,760 --> 00:19:55,400 and tape them in a different order than they were recorded, 284 00:19:55,480 --> 00:19:58,600 flip them upside down and play them backwards, 285 00:19:58,680 --> 00:20:00,320 and hear what that sounded like. 286 00:20:03,960 --> 00:20:08,440 And then I came back from school one day and turned on the radio, 287 00:20:08,520 --> 00:20:11,240 and I was disoriented for a moment 288 00:20:11,320 --> 00:20:14,120 because I heard something coming out of the radio, 289 00:20:14,200 --> 00:20:17,240 that sounded like what I had recorded the day before. 290 00:20:20,760 --> 00:20:25,680 And it was a record made in France of musique concrète 291 00:20:25,760 --> 00:20:28,760 by Pierre Henry and Pierre Schaeffer. 292 00:20:31,240 --> 00:20:36,800 That was a revelation to me, that there were people in the world, 293 00:20:36,880 --> 00:20:39,920 French people, doing what I was doing. 294 00:20:40,000 --> 00:20:42,840 And they were making records of it. 295 00:20:46,240 --> 00:20:50,840 And so I suddenly saw what I was doing had a broader application. 296 00:20:55,000 --> 00:20:59,720 I loved Ingmar Bergman films at age 15, 297 00:20:59,800 --> 00:21:01,320 and I loved Kurosawa... 298 00:21:03,000 --> 00:21:07,640 ...because the imprint of the personality of these filmmakers was very strong. 299 00:21:13,960 --> 00:21:18,560 In 1963, I went to a university in Paris, 300 00:21:18,640 --> 00:21:22,520 studying for a year right at the height of the New Wave. 301 00:21:22,600 --> 00:21:25,320 I saw Jean-Luc Godard's film "Breathless" 302 00:21:25,400 --> 00:21:29,040 and I could tell that rules were being broken. 303 00:21:29,120 --> 00:21:34,280 ♪ Pa-pa-pa-pa-pa-pa Patricia, Patricia 304 00:21:35,280 --> 00:21:37,280 And that got me excited. 305 00:21:38,080 --> 00:21:40,320 I got injected with the film bug, 306 00:21:41,360 --> 00:21:43,400 and went to USC. 307 00:21:47,040 --> 00:21:48,920 I met Walter Murch in film school. 308 00:21:49,000 --> 00:21:51,640 He was a graduate student; I was an undergrad. 309 00:21:51,720 --> 00:21:55,800 It was very easy to make friends. That was part of the fun of being there. 310 00:21:55,880 --> 00:21:58,720 It was only when I got to film school 311 00:21:58,800 --> 00:22:03,360 that I realised that you have to do to sound in film 312 00:22:03,440 --> 00:22:07,160 the very kinds of things that I was doing with these random sounds 313 00:22:07,240 --> 00:22:09,200 that I recorded back in the early '50s. 314 00:22:11,840 --> 00:22:14,200 Walter was coming up with different sound ideas 315 00:22:14,280 --> 00:22:16,920 and running tracks backwards. 316 00:22:18,040 --> 00:22:20,520 Basically, that's all he was doing, creating soundtracks. 317 00:22:22,000 --> 00:22:25,920 But it was an unusual time to go to film school 318 00:22:26,000 --> 00:22:29,840 because television was killing film. 319 00:22:31,360 --> 00:22:34,880 President Kennedy has been shot in Dallas, Texas. 320 00:22:34,960 --> 00:22:36,880 The '60s were a time when we were focused 321 00:22:36,960 --> 00:22:38,960 on what we saw on television and the news. 322 00:22:40,880 --> 00:22:45,000 I think it was a most powerful civil rights protest. 323 00:22:49,000 --> 00:22:55,120 Full of unrest and politics, Hollywood felt out of sync. 324 00:22:57,000 --> 00:23:00,160 I want to hear nothing more about this troublemaker. 325 00:23:02,720 --> 00:23:05,760 It was rock and roll and musicians like The Beatles 326 00:23:05,840 --> 00:23:08,280 that were capturing culture's imagination... 327 00:23:10,280 --> 00:23:12,720 ...more than film. 328 00:23:14,360 --> 00:23:17,880 And that year was the absolute bottom 329 00:23:17,960 --> 00:23:20,360 of a number of films produced in Hollywood. 330 00:23:21,320 --> 00:23:24,520 The model on which they had built their studios 331 00:23:24,600 --> 00:23:26,680 was not working anymore. 332 00:23:27,880 --> 00:23:30,320 There's not enough jobs. 333 00:23:31,400 --> 00:23:36,040 But kind of a life raft that was extended to us young film students 334 00:23:36,120 --> 00:23:40,280 was a fellowship by Warner Bros., which George won. 335 00:23:41,320 --> 00:23:45,000 And George met the only other person on the lot, who had a beard, 336 00:23:45,080 --> 00:23:49,200 who was Francis Coppola, who was directing "Finian's Rainbow". 337 00:23:49,280 --> 00:23:52,840 We had both been film students, long hair, 338 00:23:52,920 --> 00:23:55,640 everybody else on the crew was over 50. 339 00:23:56,480 --> 00:23:58,560 So at the end of "Finian's Rainbow", 340 00:23:58,640 --> 00:24:01,640 Francis wanted to make a movie on his own called "Rain People". 341 00:24:01,720 --> 00:24:05,800 And he said, "Do you know anybody who knows anything about sound?" 342 00:24:05,880 --> 00:24:08,680 And I said, "Oh, I got the perfect guy, Walter Murch." 343 00:24:12,800 --> 00:24:16,400 "Rain People" is a road movie, much like "Easy Rider". 344 00:24:16,480 --> 00:24:20,480 Our two guys in "Easy Rider" were travelling west to east. 345 00:24:20,560 --> 00:24:23,680 "The Rain People" was travelling the other way. 346 00:24:24,760 --> 00:24:26,360 So we built this truck, 347 00:24:26,440 --> 00:24:29,280 and just went across the country, making a movie. 348 00:24:31,440 --> 00:24:34,840 And it was the Nagra, which was smaller, lighter sound equipment 349 00:24:34,920 --> 00:24:38,440 that actually started the ability to shoot movies on the street. 350 00:24:41,240 --> 00:24:44,920 If we can make a film out of a shoe store in Nebraska, 351 00:24:45,000 --> 00:24:47,280 why do we have to be in Hollywood? 352 00:24:48,160 --> 00:24:50,040 So we moved to San Francisco. 353 00:24:58,440 --> 00:25:01,960 Francis, George and me were all in our late 20s... 354 00:25:02,840 --> 00:25:05,440 and we formed American Zoetrope. 355 00:25:07,200 --> 00:25:12,320 One of the dreams or goals of Zoetrope was to break down the barriers 356 00:25:12,400 --> 00:25:16,480 between picture editing and sound editing and sound mixing. 357 00:25:20,080 --> 00:25:22,880 Then I could let my musique concrète demon 358 00:25:22,960 --> 00:25:24,120 out of the bottle completely, 359 00:25:25,240 --> 00:25:28,080 which was a whole new direction. 360 00:25:30,400 --> 00:25:33,800 So immediately after finishing the mix on "Rain People", 361 00:25:33,880 --> 00:25:39,280 George and I got together to write the screenplay for "THX 1138". 362 00:25:40,160 --> 00:25:42,560 And we got financing from Warner's. 363 00:25:43,080 --> 00:25:46,080 I would cut picture during the day, then Walter would come in at night, 364 00:25:46,160 --> 00:25:48,200 and cut the sound. 365 00:25:51,640 --> 00:25:55,320 I took it upon myself to record every sound effect for the film myself. 366 00:26:00,240 --> 00:26:03,600 "THX" had a very eerie, strange soundtrack. 367 00:26:07,240 --> 00:26:11,360 Based on the dismal performance of the film, commercially, 368 00:26:11,440 --> 00:26:14,440 Warner Bros. cancelled the development advance 369 00:26:14,520 --> 00:26:16,280 that they had made to Zoetrope. 370 00:26:17,560 --> 00:26:21,160 They claimed that this was a personal loan to Francis. 371 00:26:21,240 --> 00:26:24,320 And he owed them all this money back. 372 00:26:24,400 --> 00:26:27,440 The equivalent today would be 3 million. 373 00:26:27,520 --> 00:26:29,320 Bankrupted our company, 374 00:26:29,400 --> 00:26:32,560 made it so I couldn't work in the business for a while. 375 00:26:32,640 --> 00:26:37,000 It was the end of the road for Zoetrope. 376 00:26:38,640 --> 00:26:46,520 And in that state, Francis was offered to direct this sleazy gangster film 377 00:26:46,600 --> 00:26:49,720 that 12 other directors had turned down... 378 00:26:50,680 --> 00:26:52,040 ...which was "The Godfather". 379 00:26:55,600 --> 00:26:58,000 But he wanted to invest the film 380 00:26:58,080 --> 00:27:03,240 with the sensibility of the European film and art that had influenced all of us. 381 00:27:04,560 --> 00:27:07,200 And he pulled all of us into it. 382 00:27:09,240 --> 00:27:11,440 When I was a kid growing up, 383 00:27:11,520 --> 00:27:16,920 one of the composers who was doing the most advanced thinking at the time 384 00:27:17,000 --> 00:27:18,480 was John Cage. 385 00:27:19,960 --> 00:27:24,280 He was proselytising that everything is music. 386 00:27:26,760 --> 00:27:30,680 Even the sound that the audience makes in the theatre is music. 387 00:27:32,800 --> 00:27:37,200 And even the sound of the lid of the piano going down 388 00:27:37,280 --> 00:27:41,000 is a kind of music. He made us pay attention. 389 00:27:42,760 --> 00:27:46,760 So in "The Godfather", the moment leading up to Sollozzo's death, 390 00:27:46,840 --> 00:27:51,240 it is accompanied by this screechy John Cagey sound. 391 00:28:03,080 --> 00:28:06,200 What you're actually listening to are Michael's neurons 392 00:28:06,280 --> 00:28:08,120 clashing against each other 393 00:28:08,200 --> 00:28:10,760 as he's making the decision to actually kill these people. 394 00:28:12,720 --> 00:28:16,880 And the murder of a dream he had of having nothing to do with the family. 395 00:28:21,320 --> 00:28:26,800 It's not technically music, but it conjures up emotion and meaning. 396 00:28:30,520 --> 00:28:36,240 Obviously, it became a big hit. And that bailed Zoetrope out. 397 00:28:36,320 --> 00:28:39,160 We were able to keep going after that. 398 00:28:43,920 --> 00:28:46,600 This one time I'll let you ask me about my affairs. 399 00:28:46,680 --> 00:28:48,800 But the soundtrack of "The Godfather", 400 00:28:48,880 --> 00:28:54,240 as it was released in theatres in 1972, was virtually identical 401 00:28:54,320 --> 00:28:57,920 to the soundtrack of "Gone with the Wind", released in 1939. 402 00:28:58,000 --> 00:29:00,080 You will promise, won't you? 403 00:29:00,160 --> 00:29:04,400 It's a mono film with just a single speaker behind the screen. 404 00:29:04,960 --> 00:29:07,440 Is that... is that all, Ashley? 405 00:29:07,520 --> 00:29:11,240 So sound in film didn't really change. 406 00:29:11,320 --> 00:29:13,720 But contrast that with the music industry, 407 00:29:13,800 --> 00:29:16,960 which was adopting all of this new technology, 408 00:29:17,040 --> 00:29:22,440 things like the LP, which, by the late 1950s had stereo sound. 409 00:29:24,400 --> 00:29:28,080 Stereo spread the music across two different speakers... 410 00:29:33,200 --> 00:29:36,080 ...surrounding you and immersing you in the music. 411 00:29:37,680 --> 00:29:42,520 The Beatles, in particular, were testing the boundaries of the medium. 412 00:29:42,600 --> 00:29:44,960 I remember when I played "Revolver"... 413 00:29:45,840 --> 00:29:48,880 ...it was a visceral feeling, you could feel the sound in your body. 414 00:29:48,960 --> 00:29:53,800 ♪ Turn off your mind, relax and float downstream 415 00:29:53,880 --> 00:29:56,520 And the song "Revolution 9". 416 00:29:56,600 --> 00:29:58,600 ♪ Nine, number nine 417 00:29:58,680 --> 00:30:03,160 George Martin brought this ability to mix and create sound design, 418 00:30:03,840 --> 00:30:05,960 that would then be melded with rock and roll. 419 00:30:10,680 --> 00:30:13,120 "Revolution 9" was fascinating to me 420 00:30:13,200 --> 00:30:15,280 because it was just like musique concrète. 421 00:30:17,320 --> 00:30:21,920 As we come out of the hippie '60s era of rock music, 422 00:30:22,000 --> 00:30:24,440 we brought that sensibility to cinema, and thought, 423 00:30:24,520 --> 00:30:26,840 "Why can't movies be in stereo?" 424 00:30:29,280 --> 00:30:33,240 It was in that over-heated environment 425 00:30:33,320 --> 00:30:35,120 that Dolby came along 426 00:30:35,200 --> 00:30:40,040 from the music industry in the mid 70s, and took the lid off. 427 00:30:40,680 --> 00:30:44,400 Providing stereo sound in more and more theatres. 428 00:30:44,480 --> 00:30:49,600 I remember a nameless film executive at one of the distributors in Hollywood, 429 00:30:49,680 --> 00:30:52,720 who actually hit his desk and said, "Goddamn it, 430 00:30:52,800 --> 00:30:56,480 "it's good stories and comfortable seats, that's what sells movies, not sound!" 431 00:30:58,400 --> 00:31:01,120 But then in 1976, with "A Star Is Born", 432 00:31:01,200 --> 00:31:03,600 Barbra Streisand had the imagination to say, 433 00:31:03,680 --> 00:31:07,640 "I want to do this vast stereo sound with my film," 434 00:31:07,720 --> 00:31:10,080 and just to tell the studio, "We're gonna do it." 435 00:31:14,320 --> 00:31:21,760 ♪ With one more look at you 436 00:31:22,720 --> 00:31:25,480 That all-enveloping sound 437 00:31:25,560 --> 00:31:28,400 and especially coming from the audiences, 438 00:31:28,480 --> 00:31:33,880 to involve you as an audience member into the concert. 439 00:31:35,120 --> 00:31:40,200 ♪ Leave a troubled past and I might start anew 440 00:31:40,880 --> 00:31:45,040 On "A Star Is Born" Barbra Streisand insisted on, 441 00:31:45,120 --> 00:31:48,080 and in fact got an extraordinary amount of time 442 00:31:48,160 --> 00:31:50,200 to do the sound edit and sound mix. 443 00:31:53,680 --> 00:31:56,880 In fact it was something on the order of magnitude of four months, 444 00:31:57,680 --> 00:32:01,200 at a time when it was more traditional to have seven weeks. 445 00:32:09,160 --> 00:32:11,440 The deal with First Artist was that 446 00:32:11,520 --> 00:32:16,320 the artist was responsible for anything over 6 million dollars. 447 00:32:17,760 --> 00:32:20,560 I spent the 6 million dollars on the movie. 448 00:32:22,320 --> 00:32:26,640 But then when I got into sound, I spent another million dollars. 449 00:32:27,360 --> 00:32:32,760 ♪ Are you a figment of my imagination? Or I'm one of yours 450 00:32:32,840 --> 00:32:37,560 When Warner Bros. saw the film, they liked it so much 451 00:32:37,640 --> 00:32:39,680 that they didn't make me pay the million dollars. 452 00:32:39,760 --> 00:32:42,320 I thought it was wonderful. I was willing to spend it. 453 00:32:44,560 --> 00:32:47,840 There is a degree of reality that you can get from stereo 454 00:32:47,920 --> 00:32:50,320 that's never possible with a mono soundtrack. 455 00:32:50,400 --> 00:32:54,320 And bless Barbra Streisand for recognising the value. 456 00:33:00,040 --> 00:33:03,120 It wasn't just the way films were played in theatres 457 00:33:03,200 --> 00:33:07,480 that was changing. It was the way they were recorded, too. 458 00:33:07,560 --> 00:33:11,920 I was a teenager in the '70s, and I saw the film "Nashville". 459 00:33:16,040 --> 00:33:19,760 And I think that was probably the film that turned my ears on 460 00:33:19,840 --> 00:33:23,440 to what was possible in a movie with sound. 461 00:33:24,680 --> 00:33:26,320 When they come into the airport, 462 00:33:26,400 --> 00:33:29,440 that's an incredibly beautiful piece of sound. 463 00:33:31,000 --> 00:33:33,320 Barbara Jean, ladies and gentlemen. 464 00:33:33,920 --> 00:33:37,440 There's airplanes that come in and out and obliterate what people are saying. 465 00:33:37,520 --> 00:33:40,200 There's a reporter on a microphone. There's a marching band. 466 00:33:40,280 --> 00:33:42,640 And thank you, Franklin High School band. 467 00:33:42,720 --> 00:33:45,440 I think you kids get better every year. 468 00:33:48,440 --> 00:33:51,120 All right twirlers, let's twirl. 469 00:33:52,120 --> 00:33:54,120 You're woven through that entire tapestry 470 00:33:54,200 --> 00:33:55,800 and the sound is what's pulling you 471 00:33:55,880 --> 00:33:58,200 and telling you where you're gonna go next. 472 00:33:58,280 --> 00:34:04,120 Jim Webb obviously had worked with Robert Altman on many of his films. 473 00:34:04,200 --> 00:34:06,080 He was the master of multi-track, 474 00:34:06,160 --> 00:34:09,440 just ahead of their time and pushing the limits. 475 00:34:09,520 --> 00:34:12,360 Before that, they recorded one track, 476 00:34:12,440 --> 00:34:15,240 but now we don't shoot two tracks or three tracks. 477 00:34:15,320 --> 00:34:17,080 We have about eight, ten, sixteen tracks. 478 00:34:17,160 --> 00:34:19,240 Other members of Chamber of Commerce 479 00:34:19,320 --> 00:34:20,520 understand reportedly earlier on... 480 00:34:20,600 --> 00:34:22,080 You know, everybody had a mic. 481 00:34:22,160 --> 00:34:24,160 No matter how many people were in the scene, 482 00:34:24,240 --> 00:34:26,320 they all had microphones and were on mic all the time. 483 00:34:26,400 --> 00:34:29,160 All the other friends, members and... 484 00:34:31,600 --> 00:34:33,000 She's fallen somewhere down... 485 00:34:33,080 --> 00:34:36,280 It was amazing, how the story was driven by the sound 486 00:34:36,360 --> 00:34:41,080 in a way that I don't think had happened before then in American films. 487 00:34:42,760 --> 00:34:45,280 My generation, you know, Francis and George 488 00:34:45,360 --> 00:34:48,600 and Marty and Brian and my whole group that I sort of grew up with - 489 00:34:48,680 --> 00:34:50,880 very sound-conscious generation. 490 00:34:52,480 --> 00:34:55,400 So between the technological and creative advances 491 00:34:55,480 --> 00:34:58,280 of the early 1970s sound was taking route 492 00:34:58,360 --> 00:35:00,840 in a new American Renaissance of movies, 493 00:35:00,920 --> 00:35:03,600 in a way that had never been heard before. 494 00:35:04,480 --> 00:35:06,520 Oh, I understand. 495 00:35:06,600 --> 00:35:08,720 But heading into the late '70s, 496 00:35:08,800 --> 00:35:11,480 even bigger breakthroughs were on the way. 497 00:35:13,160 --> 00:35:15,840 Most directors spent a lot of time with their cameramen 498 00:35:15,920 --> 00:35:17,320 and actors. 499 00:35:17,400 --> 00:35:20,960 I just take the same amount of time and spend it with the sound designer. 500 00:35:21,040 --> 00:35:23,520 But when I started my next film, 501 00:35:23,600 --> 00:35:27,640 Francis was doing "The Conversation" and Walter was busy on that. 502 00:35:29,560 --> 00:35:32,040 So I called Ken Miura at USC and said, 503 00:35:32,120 --> 00:35:34,000 "Do you have anybody else like Walter?" 504 00:35:34,080 --> 00:35:36,120 He said, "Yeah, I got somebody here." 505 00:35:45,000 --> 00:35:50,320 My mother tells me that as a toddler I loved to act out to music, 506 00:35:50,400 --> 00:35:54,360 that if she put a record on, I would not only dance around the room, 507 00:35:54,440 --> 00:35:56,920 but I would assume characters, I'd be a cowboy 508 00:35:57,000 --> 00:36:00,960 or I'd be some kind of pirate or something. 509 00:36:01,040 --> 00:36:04,240 But when I was about six years old, I had a serious illness 510 00:36:04,320 --> 00:36:07,520 and I was in bed for a few weeks and very weak. 511 00:36:08,320 --> 00:36:11,160 But my father had access to a tape recorder. 512 00:36:11,240 --> 00:36:13,320 And he brought that home. 513 00:36:14,000 --> 00:36:15,880 I began recording television shows 514 00:36:15,960 --> 00:36:18,040 by putting the microphone up to the TV 515 00:36:18,120 --> 00:36:20,640 and recording the Saturday morning cartoons. 516 00:36:21,480 --> 00:36:24,000 There were two television stations 517 00:36:24,080 --> 00:36:28,320 and one of them had the Warner Bros. package of syndicated film. 518 00:36:29,880 --> 00:36:32,800 I loved recording Errol Flynn movies in particular. 519 00:36:39,160 --> 00:36:42,560 They ran the Cagney gangster movies. 520 00:36:42,640 --> 00:36:45,040 And Bogart films. 521 00:36:45,120 --> 00:36:49,640 So I got very familiar with the sounds of Warner Bros' classic library. 522 00:36:51,200 --> 00:36:53,920 The other channel pretty much showed MGM. 523 00:36:55,080 --> 00:37:00,640 ♪ Somewhere over the rainbow... 524 00:37:00,720 --> 00:37:06,160 ♪ Singing in the rain, just singing in the rain... 525 00:37:06,240 --> 00:37:09,440 As the other children were developing a love for certain music, 526 00:37:09,520 --> 00:37:11,760 I was listening to explosions. 527 00:37:19,760 --> 00:37:22,040 So I began collecting things I liked. 528 00:37:22,120 --> 00:37:25,440 And I'd seek after a movie just to record the battle scenes 529 00:37:25,520 --> 00:37:27,320 and just listen to them. 530 00:37:30,000 --> 00:37:33,880 I think the thousands of hours I spent doing that as a kid, 531 00:37:34,680 --> 00:37:37,760 unknown to me, that was building up an inventory 532 00:37:37,840 --> 00:37:42,360 of how sound in movies was part of the experience. 533 00:37:45,040 --> 00:37:47,840 I started making my own little movies. 534 00:37:47,920 --> 00:37:53,200 In those days you couldn't record live sound while shooting super 8 films. 535 00:37:53,280 --> 00:37:56,440 But I could generate a soundtrack after the fact 536 00:37:57,840 --> 00:38:02,600 by taking sound effects I had extracted from movies and television shows 537 00:38:02,680 --> 00:38:05,000 and putting them in my movies. 538 00:38:13,440 --> 00:38:16,160 I first met Ben Burtt at USC Film School. 539 00:38:16,880 --> 00:38:19,280 We kind of were kindred spirits. 540 00:38:19,360 --> 00:38:23,680 Whereas a lot of the students were into all the Antonioni and the arty films, 541 00:38:23,760 --> 00:38:27,520 we kind of liked the traditional Hollywood fun films and serials. 542 00:38:30,120 --> 00:38:32,400 Rod Flash. 543 00:38:32,480 --> 00:38:34,280 We wrote this movie 544 00:38:34,360 --> 00:38:37,160 called "Rod Flash Conquers Infinity". 545 00:38:37,240 --> 00:38:40,320 Ben and I dressed up in these knock-off Flash Gordon things 546 00:38:40,400 --> 00:38:43,680 that we got at an army surplus store in Hollywood. 547 00:38:45,240 --> 00:38:48,080 We were making the voyage to the planet Extraneous. 548 00:38:51,880 --> 00:38:53,440 We discover a dinosaur. 549 00:38:54,160 --> 00:38:57,760 And of course we have a pretty girl in a cape. 550 00:39:02,080 --> 00:39:04,360 And Ben did the sound on that one. 551 00:39:13,600 --> 00:39:17,320 So I was just finishing at USC Cinema, 552 00:39:17,400 --> 00:39:22,160 and Gary Kurtz who had represented George Lucas, came down to school, 553 00:39:22,240 --> 00:39:24,600 looking for a student interested in sound 554 00:39:24,680 --> 00:39:27,400 who they could mould into their own ways. 555 00:39:28,080 --> 00:39:31,720 I went out to the studio and met with the two of them. 556 00:39:32,360 --> 00:39:35,520 And they outlined the film they were gonna make. 557 00:39:36,320 --> 00:39:39,480 They had artwork on the walls done by Ralph McQuarrie, 558 00:39:39,560 --> 00:39:41,680 concept art for the film. 559 00:39:41,760 --> 00:39:44,320 I was astounded by what I saw. 560 00:39:44,400 --> 00:39:46,200 This was the film I always wanted to work on. 561 00:39:46,280 --> 00:39:50,720 This had spaceships and monsters and weapons like lightsabres. 562 00:39:52,120 --> 00:39:54,080 It was called "Star Wars". 563 00:39:55,400 --> 00:39:58,480 So I leap at the chance and the initial discussion was, 564 00:39:58,560 --> 00:40:02,400 "Would you like to help collect sounds for a Wookiee?" 565 00:40:03,360 --> 00:40:06,880 This is still about a year away from principal photography. 566 00:40:07,920 --> 00:40:10,560 I put Ben on in the beginning because I knew 567 00:40:10,640 --> 00:40:14,400 I had to figure out a way of making these characters real. 568 00:40:14,480 --> 00:40:18,680 And I knew it depended on how we developed these languages, 569 00:40:18,760 --> 00:40:22,320 and that's what Ben spent the better part of a year doing. 570 00:40:23,920 --> 00:40:25,680 We were trying to find an animal 571 00:40:25,760 --> 00:40:28,720 that had enough vocal expressiveness 572 00:40:28,800 --> 00:40:31,800 in its sounds that we could use it for the Wookiee. 573 00:40:33,040 --> 00:40:36,360 So there was a young bear named Pooh. 574 00:40:36,440 --> 00:40:40,040 And we spent an afternoon with this bear in a pen, 575 00:40:40,120 --> 00:40:42,440 coaxing it to say different sounds. 576 00:40:43,240 --> 00:40:48,480 The way they got it to make sound was to show it bread. It loved bread. 577 00:40:48,560 --> 00:40:50,480 The bear would... 578 00:40:54,160 --> 00:40:58,280 Then you'd give him the bread and then he'd be like... 579 00:41:00,920 --> 00:41:03,440 George wanted to know before they filmed the movie 580 00:41:03,520 --> 00:41:05,400 how would the Wookiee sound. 581 00:41:05,480 --> 00:41:07,160 Well, you said it, Chewie. 582 00:41:07,240 --> 00:41:12,000 This is not the way that most filmmakers worked at that time. 583 00:41:12,080 --> 00:41:14,400 I knew the sound was part of the foundation 584 00:41:14,480 --> 00:41:17,000 of what the movie was gonna be. 585 00:41:17,080 --> 00:41:20,360 So everything had to have been figured out way ahead of time. 586 00:41:21,320 --> 00:41:25,520 So I proceeded to work my way through the screenplay of "Star Wars". 587 00:41:25,600 --> 00:41:27,880 I read through it, made some notes, broke it down, 588 00:41:27,960 --> 00:41:31,200 and I realised there were hundreds of things in the script 589 00:41:31,280 --> 00:41:34,240 from Darth Vader's breathing, and you had the Death Star, 590 00:41:34,320 --> 00:41:39,360 you had TIE fighters and a whole library of things in there. 591 00:41:39,440 --> 00:41:44,360 I said, "Well, do you want sounds for the rest of these things as well?" 592 00:41:44,440 --> 00:41:47,600 The answer was, "Yeah, sure. Just spend some time." 593 00:41:48,880 --> 00:41:52,800 And so I operated out of my apartment for many months 594 00:41:52,880 --> 00:41:57,280 coming up with expeditions to go out and gather sound, 595 00:41:57,360 --> 00:42:01,160 while George was off in England, busy shooting the movie. 596 00:42:01,240 --> 00:42:03,800 I was still based in LA. 597 00:42:03,880 --> 00:42:06,600 He wanted me to go out and record real motors 598 00:42:06,680 --> 00:42:10,760 and real airplanes, and real rusty doors. 599 00:42:10,840 --> 00:42:13,040 This hum of a projector, 600 00:42:13,120 --> 00:42:16,160 a buzzing sound behind the television set. 601 00:42:16,240 --> 00:42:19,760 I tried to go to factories and a scuba shop. 602 00:42:20,920 --> 00:42:23,880 I just started recording everything I could get my hands on. 603 00:42:23,960 --> 00:42:26,720 And to populate the universe of "Star Wars" 604 00:42:26,800 --> 00:42:31,320 with the sounds of things that we would hear as real. 605 00:42:34,400 --> 00:42:37,280 We didn't wanna follow the conventions of science fiction 606 00:42:37,360 --> 00:42:38,960 that were current at the time 607 00:42:39,040 --> 00:42:42,720 which was things like "Forbidden Planet" or "War of the Worlds", 608 00:42:42,800 --> 00:42:45,480 using electronic music technology. 609 00:42:46,600 --> 00:42:49,280 We didn't use synthesisers or anything like that. 610 00:42:49,360 --> 00:42:51,480 We used real sound effects. 611 00:42:54,800 --> 00:42:57,800 So a year or so went by of me collecting 612 00:42:57,880 --> 00:43:02,760 and when they returned from filming, I got a note saying, 613 00:43:02,840 --> 00:43:07,720 "We'll take the tapes and deliver them to Northern California." 614 00:43:07,800 --> 00:43:11,000 They were doing the picture editing in George's house. 615 00:43:11,520 --> 00:43:16,920 So I started to cut my sound effects into the editor's cuts of the movie. 616 00:43:19,320 --> 00:43:22,360 But R2-D2 took a long time. 617 00:43:22,440 --> 00:43:28,000 There were many versions of that over months that were failures. 618 00:43:28,080 --> 00:43:30,120 You have to actually make him talk 619 00:43:30,200 --> 00:43:33,200 and make you understand what he's saying. 620 00:43:33,280 --> 00:43:35,240 And R2 had no mouth at all. 621 00:43:35,320 --> 00:43:37,640 What Mission? What are you talking about? 622 00:43:37,720 --> 00:43:41,400 We were very worried that it would be incomprehensible. 623 00:43:43,560 --> 00:43:45,440 What eventually happened was, 624 00:43:45,520 --> 00:43:47,880 as George and I were talking to each other, 625 00:43:47,960 --> 00:43:51,920 we would say, "R2 comes up to this point in the movie and he goes..." 626 00:43:55,840 --> 00:44:00,240 And suddenly we realised we were talking with expressive sounds. 627 00:44:00,320 --> 00:44:02,920 They had the intonation of meaning. 628 00:44:03,000 --> 00:44:05,560 We were verbalising a sound that worked for us. 629 00:44:08,280 --> 00:44:11,920 And that led down the road of doing just that. 630 00:44:12,000 --> 00:44:17,080 I could do a vocalisation and play something on the keyboard... 631 00:44:19,480 --> 00:44:22,240 ...and you could sort of work two things together. 632 00:44:24,480 --> 00:44:26,400 What mission? What are you talking about? 633 00:44:28,280 --> 00:44:32,840 I've just about had enough of you. Go that way. 634 00:44:32,920 --> 00:44:35,920 You'll be malfunctioning within a day, you near-sighted scrap pile. 635 00:44:37,240 --> 00:44:41,440 We were not sure that audiences would comprehend this at all though. 636 00:44:41,520 --> 00:44:44,360 I didn't know. I was nervous, as anybody would be. 637 00:44:44,440 --> 00:44:46,800 I thought maybe this was probably the end. 638 00:44:46,880 --> 00:44:50,000 I'd go back and become a science teacher somewhere in the East. 639 00:44:50,080 --> 00:44:53,680 You got to remember, my first film was a failure. 640 00:44:53,760 --> 00:44:55,440 I thought, the ultimate honour would be 641 00:44:55,520 --> 00:44:58,400 if we could be invited to a "Star Trek" convention. 642 00:44:58,480 --> 00:45:00,000 I could sell T-shirts. 643 00:45:00,080 --> 00:45:05,080 Maybe we'd have a table there to hand out posters or something. 644 00:45:07,000 --> 00:45:10,400 That to me would have been the peak of my career. 645 00:45:12,320 --> 00:45:15,560 When the film was finished, Fox didn't really know what they had. 646 00:45:15,640 --> 00:45:19,320 I sat in a meeting with a Fox executive with Gary Kurtz 647 00:45:19,400 --> 00:45:21,560 and the Fox Executive said, 648 00:45:21,640 --> 00:45:24,680 "We like your movie, Gary, but we think it's a sleeper. 649 00:45:24,760 --> 00:45:27,120 "We think it's gonna open very slowly." 650 00:45:28,040 --> 00:45:31,880 I sat in the Coronet Theater in San Francisco 651 00:45:31,960 --> 00:45:34,640 for the opening show there, 70mm print. 652 00:45:34,720 --> 00:45:36,880 I was sitting actually in the middle of the audience 653 00:45:36,960 --> 00:45:40,800 and this guy sitting next to me as the plane comes overhead... 654 00:45:54,360 --> 00:45:58,680 And this guy goes, "Holy shit. Holy shit. Holy shit." 655 00:45:59,960 --> 00:46:02,560 And two weeks later, there were lines around the blocks 656 00:46:02,640 --> 00:46:05,440 across the country waiting for "Star Wars". 657 00:46:09,440 --> 00:46:12,680 The award goes to Mr Benjamin Burtt, Jr. 658 00:46:17,600 --> 00:46:19,840 Thank you very much. 659 00:46:19,920 --> 00:46:22,040 I would like to, of course, thank George Lucas 660 00:46:22,120 --> 00:46:24,600 who had all the great ideas and provided all the inspiration 661 00:46:24,680 --> 00:46:27,200 for the things in "Star Wars". Thank you very much. 662 00:46:30,440 --> 00:46:33,600 It is the imaginative director who will say, 663 00:46:33,680 --> 00:46:36,760 "Let's take the next step in the sound story." 664 00:46:37,560 --> 00:46:39,440 George Lucas and Gary Kurtz, 665 00:46:39,520 --> 00:46:41,640 Barbra Streisand on "A Star Is Born", 666 00:46:41,720 --> 00:46:44,200 Francis Coppola, Stanley Kubrick, 667 00:46:44,280 --> 00:46:48,840 those are the key players who will say, "Yes, I'll do this." 668 00:46:51,240 --> 00:46:53,760 "Star Wars" was a revolution. 669 00:46:55,360 --> 00:47:00,760 It was that soundtrack that changed everything, 1977. 670 00:47:03,440 --> 00:47:07,160 In people's minds, it was a time when sound was cool. 671 00:47:08,480 --> 00:47:12,760 And it created this era driven by the filmmakers. 672 00:47:14,040 --> 00:47:15,960 At that time, David Lynch and Alan Splet 673 00:47:16,040 --> 00:47:18,640 came out of AFI and were a partnership. 674 00:47:19,240 --> 00:47:22,360 These really great minds were doing experimental things. 675 00:47:23,680 --> 00:47:27,480 I believe the source of everyone's creativity comes from within. 676 00:47:31,520 --> 00:47:34,440 And Alan, he was a born soundman. 677 00:47:38,760 --> 00:47:42,240 Very interested in music, especially classical music. 678 00:47:49,160 --> 00:47:53,560 And he was a joyous experimenter. 679 00:47:57,800 --> 00:47:59,560 The trick for the human being 680 00:47:59,640 --> 00:48:02,520 is experiencing this deepest level of life. 681 00:48:04,840 --> 00:48:09,000 The unbounded infinite ocean of consciousness 682 00:48:09,080 --> 00:48:11,440 at the base of all matter and mind, 683 00:48:12,720 --> 00:48:18,640 where sounds play a huge role in the abstract cinema. 684 00:48:21,520 --> 00:48:26,680 You wanna bring people into a world and give them an experience 685 00:48:27,880 --> 00:48:31,200 and you could get lost in there for years. 686 00:48:39,200 --> 00:48:42,000 So it was in the air - breaking the mould, 687 00:48:42,080 --> 00:48:44,160 and trying things that seemed crazy 688 00:48:44,240 --> 00:48:46,600 and seeing if they worked. 689 00:48:46,680 --> 00:48:49,320 The '70s was a really good time of filmmaking. 690 00:48:51,680 --> 00:48:55,400 There was no more experimental or chaotic film in all of history, 691 00:48:55,480 --> 00:48:59,880 that so changed the way film sound was done and presented 692 00:48:59,960 --> 00:49:01,520 as "Apocalypse Now". 693 00:49:14,160 --> 00:49:16,280 During the shooting of "Apocalypse Now", 694 00:49:16,360 --> 00:49:18,680 Francis heard a record by Tomita 695 00:49:18,760 --> 00:49:23,560 which was "The Planets" by Gustav Holst in 4-track. 696 00:49:24,880 --> 00:49:28,440 The idea was that you put speakers at each corner of your room, 697 00:49:28,520 --> 00:49:31,840 you sat in the centre and you were surrounded by the music. 698 00:49:35,480 --> 00:49:39,520 Francis heard it and thought this is how I want the film to sound. 699 00:49:40,200 --> 00:49:42,760 But all of us working on the sound - 700 00:49:42,840 --> 00:49:46,920 Richards Beggs, Mark Berger and myself, we'd only work in mono. 701 00:49:47,000 --> 00:49:49,080 None of us had even worked on a stereo film 702 00:49:49,160 --> 00:49:53,080 let alone this whole new 6-track surround format. 703 00:49:56,040 --> 00:50:01,560 We were exploring the unknown going into this whole new continent 704 00:50:02,520 --> 00:50:06,560 where we move objects all the way around the theatre 705 00:50:09,280 --> 00:50:11,640 which had never been done before. 706 00:50:17,560 --> 00:50:19,480 If you're breaking new ground 707 00:50:19,560 --> 00:50:22,640 then people who are interested in new ground 708 00:50:22,720 --> 00:50:25,400 come because they want to participate in it 709 00:50:25,480 --> 00:50:28,080 and more ground gets broken. 710 00:50:29,120 --> 00:50:31,960 I spent about half my time on "Apocalypse" in the mix, 711 00:50:32,040 --> 00:50:34,440 sitting there watching Walter Murch 712 00:50:34,520 --> 00:50:37,320 and Mark Berger and Richard Beggs and Francis, 713 00:50:37,400 --> 00:50:40,320 figuring out what this movie was going to sound like. 714 00:50:41,360 --> 00:50:44,800 Working on "Apocalypse Now" was my film school. 715 00:50:46,320 --> 00:50:49,240 Ultimately, we wound up spending a year and a half 716 00:50:49,320 --> 00:50:53,240 editing the sound and nine months doing the mix 717 00:50:53,320 --> 00:50:55,080 which is just unheard of. 718 00:50:55,160 --> 00:50:59,640 Just about everything that could go right or go wrong did. 719 00:50:59,720 --> 00:51:02,640 The whole "Apocalypse Now" experience was like dropping acid. 720 00:51:05,000 --> 00:51:10,360 ♪ This is the end, beautiful friend 721 00:51:11,120 --> 00:51:13,120 What you have at the beginning of the film 722 00:51:13,200 --> 00:51:18,000 is Captain Willard in his Saigon hotel room hallucinating, 723 00:51:18,080 --> 00:51:20,640 regretting what he's done in the war. 724 00:51:24,120 --> 00:51:26,800 Everything that you see and hear 725 00:51:26,880 --> 00:51:29,960 is being filtered through his consciousness. 726 00:51:32,960 --> 00:51:39,040 ♪ Waiting for the summer rain, yeah 727 00:51:42,240 --> 00:51:48,360 And that decision is what allowed Walter to do what he did with the sound. 728 00:51:53,040 --> 00:51:55,360 To tell the story more from the point of view 729 00:51:55,440 --> 00:51:59,080 of this character in this crazy situation in Vietnam. 730 00:51:59,680 --> 00:52:01,080 Saigon. 731 00:52:02,920 --> 00:52:04,640 Shit. 732 00:52:04,720 --> 00:52:07,160 And it frames the whole movie. 733 00:52:15,280 --> 00:52:18,560 The most interesting sound is designed into the script 734 00:52:18,640 --> 00:52:20,720 and is designed into the scenes. 735 00:52:24,680 --> 00:52:29,600 So I wrote out a script for the sound treatment of the film 736 00:52:29,680 --> 00:52:31,080 to guide the mix. 737 00:52:37,280 --> 00:52:40,160 Walter decided that it was more efficient 738 00:52:40,240 --> 00:52:44,520 if each editor be responsible for one whole layer of sound, 739 00:52:45,680 --> 00:52:48,520 so that the helicopters were edited by one editor 740 00:52:48,600 --> 00:52:52,280 and the background voices were edited by another editor. 741 00:52:52,360 --> 00:52:55,520 Les Hodgson was in charge of atmospheres. 742 00:52:55,600 --> 00:52:58,080 Les Wiggins was in charge of munitions. 743 00:52:58,880 --> 00:53:01,720 Pat Jackson was in charge of the boat. 744 00:53:01,800 --> 00:53:03,920 So that there was a consistency. 745 00:53:05,400 --> 00:53:07,040 To treat each sound editor 746 00:53:07,120 --> 00:53:10,400 as the head of an instrument grouping in an orchestra. 747 00:53:11,360 --> 00:53:14,240 You are the lead violin. You are head of the woodwinds. 748 00:53:14,320 --> 00:53:16,160 You are head of percussion. 749 00:53:16,920 --> 00:53:18,920 You are head of the brasses. 750 00:53:29,920 --> 00:53:36,600 And as Chief is dying, Pat Jackson changed the pitch of the boat 751 00:53:36,680 --> 00:53:40,160 so that the boat sound is going down. 752 00:53:51,120 --> 00:53:53,640 I think the biggest lesson I learned from "Apocalypse Now" 753 00:53:53,720 --> 00:53:56,320 sitting there was figuring out from moment to moment 754 00:53:56,400 --> 00:53:59,280 what sounds to use and what sounds not to use. 755 00:53:59,360 --> 00:54:02,400 Those kinds of decisions are the essence of film. 756 00:54:08,360 --> 00:54:12,760 And the exhibitors are going to play the picture on our terms, 757 00:54:12,840 --> 00:54:17,080 with our sound, the way we want them to show it. 758 00:54:17,160 --> 00:54:21,920 The film did run in this 6-track surround format. 759 00:54:22,000 --> 00:54:25,960 And as things have evolved over the next 30, 40 years, 760 00:54:26,040 --> 00:54:30,360 that format is now the ground standard of how you mix a film. 761 00:54:31,920 --> 00:54:36,040 The soundtrack is at least as important as the film. 762 00:54:36,120 --> 00:54:41,840 And the director of the soundtrack of the entire movie is Walter Murch. 763 00:54:43,800 --> 00:54:47,800 In a way, Walter Murch is the father of us all 764 00:54:47,880 --> 00:54:51,520 in this modern era of film sound. 765 00:54:54,240 --> 00:54:56,040 "Apocalypse Now" marked the culmination 766 00:54:56,120 --> 00:54:59,200 of over 50 years of film sound development. 767 00:54:59,280 --> 00:55:01,600 And its repercussions can still be felt today. 768 00:55:03,080 --> 00:55:05,080 But the next big challenge for sound 769 00:55:05,160 --> 00:55:08,560 was how to work in the crazy new digital world. 770 00:55:14,720 --> 00:55:18,760 I always thought that animation was such a visual medium. 771 00:55:18,840 --> 00:55:22,400 But when I started putting just the right sound effects 772 00:55:22,480 --> 00:55:25,480 it just made it a thousand times better. 773 00:55:28,200 --> 00:55:31,840 February of 1986, we formed Pixar. 774 00:55:33,800 --> 00:55:37,080 I had been working on animating these desk lamps. 775 00:55:37,160 --> 00:55:40,240 So I made this little one and a half minute short film, 776 00:55:40,320 --> 00:55:42,200 called Luxo Jr. 777 00:55:42,280 --> 00:55:45,440 And of course we wanted Ben Burtt to do the sound, 778 00:55:46,560 --> 00:55:49,240 but they told us he was busy. 779 00:55:49,320 --> 00:55:52,520 And they say, but there's this young guy that's been working with Ben. 780 00:55:52,600 --> 00:55:54,600 He's really, really good. 781 00:55:54,680 --> 00:55:57,960 Let's give this new guy a try. His name's Gary Rydstrom. 782 00:56:01,040 --> 00:56:02,440 But I want Ben Burtt. 783 00:56:07,600 --> 00:56:09,400 I think all of my early opportunities 784 00:56:09,480 --> 00:56:11,200 were shows that people wanted Ben Burtt, 785 00:56:11,280 --> 00:56:12,880 is how it works in the world, right? 786 00:56:12,960 --> 00:56:16,360 We'd like Ben Burtt, please, he's not available, who else you got? 787 00:56:16,440 --> 00:56:19,600 Now, Luxo Jr. was definitely a huge step forward 788 00:56:19,680 --> 00:56:23,800 for animation. And it had a very real look to him. 789 00:56:23,880 --> 00:56:28,800 And Gary kept looking at it going, "I wanna ground this in reality." 790 00:56:29,920 --> 00:56:33,320 I had this digital workstation called the Synclavier, 791 00:56:33,400 --> 00:56:36,360 where I could take real sounds, load them into the computer 792 00:56:36,440 --> 00:56:38,840 and manipulate them on the keyboard. 793 00:56:38,920 --> 00:56:42,200 Like scraping metal, the screwing in of lightbulbs. 794 00:56:42,280 --> 00:56:45,720 Harsh, boring sounds. And the springs... 795 00:56:45,800 --> 00:56:48,200 You record sounds you don't know what they're going to be for, 796 00:56:48,280 --> 00:56:49,680 but they're interesting. 797 00:56:49,760 --> 00:56:54,160 And later on, you'll find little titbits that have a little vocal quality. 798 00:56:54,240 --> 00:56:56,160 It's sad or happy. 799 00:56:57,280 --> 00:56:59,800 And next thing you know, he brought me down 800 00:56:59,880 --> 00:57:03,200 and he showed me a first pass of Luxo Jr. 801 00:57:04,360 --> 00:57:07,040 And the characters came alive. 802 00:57:12,000 --> 00:57:16,080 He crafted their voices and he gave them weight. 803 00:57:21,600 --> 00:57:23,120 Gary got it. 804 00:57:23,200 --> 00:57:27,160 He took the medium of computer animation to new heights. 805 00:57:27,240 --> 00:57:31,360 And pretty much everything Pixar did, Gary did the sound for. 806 00:57:32,400 --> 00:57:35,520 I thought this is cool, I'm part of something really big here. 807 00:57:35,600 --> 00:57:37,560 George Lucas and Ben Burtt, 808 00:57:37,640 --> 00:57:39,840 Francis Coppola and Walter Murch, 809 00:57:39,920 --> 00:57:41,840 David Lynch and Alan Splet. 810 00:57:42,560 --> 00:57:45,920 Great directors connected at the hip to a sound person. 811 00:57:47,240 --> 00:57:50,080 One of mine was with John Lasseter... 812 00:57:50,160 --> 00:57:52,000 ...and another was with Steven Spielberg. 813 00:57:52,080 --> 00:57:53,080 Action. 814 00:57:53,160 --> 00:57:56,360 Welcome to Jurassic Park. 815 00:58:00,880 --> 00:58:03,600 We're gonna make a fortune with this place. 816 00:58:03,680 --> 00:58:07,400 I think Gary Rydstrom's greatest contribution to "Jurassic Park" 817 00:58:07,480 --> 00:58:10,680 was presuming what dinosaurs sounded like. 818 00:58:10,760 --> 00:58:14,480 To make them extraordinary, but also natural. 819 00:58:26,400 --> 00:58:28,720 And the first time I ever heard the T-Rex, 820 00:58:28,800 --> 00:58:30,960 I did literally fall off my chair. 821 00:58:31,880 --> 00:58:33,280 Talk about innovative, 822 00:58:33,360 --> 00:58:37,400 it was just unbelievable the sound that he did on "Jurassic Park". 823 00:58:37,480 --> 00:58:39,640 So we just asked him to do sound for us 824 00:58:39,720 --> 00:58:42,080 on the first computer animated feature film. 825 00:58:42,160 --> 00:58:44,480 ♪ You've got a friend in me 826 00:58:44,560 --> 00:58:47,600 I just appreciated how Gary was making sure 827 00:58:47,680 --> 00:58:52,720 that the sounds he used supported the emotional intention 828 00:58:52,800 --> 00:58:55,760 of the narrative of whatever was going on. 829 00:58:56,560 --> 00:58:58,720 Say, what's that button do? 830 00:58:58,800 --> 00:59:01,240 - I'll show you. - Buzz Lightyear to the rescue. 831 00:59:01,320 --> 00:59:02,320 - Whoa. - Wow. 832 00:59:02,400 --> 00:59:05,640 Hey, Woody's got something like that. His is a pull-string only. 833 00:59:05,720 --> 00:59:10,000 We wanted to have one thing that both Woody and Buzz had 834 00:59:10,920 --> 00:59:14,800 that you could tell Woody's was older and cheesier. 835 00:59:14,880 --> 00:59:19,080 And Buzz's was new and high-tech and that was a sound system. 836 00:59:19,160 --> 00:59:21,640 I had an old Casper doll. 837 00:59:23,200 --> 00:59:28,920 There's a record in there that he is... Come on, Cas. 838 00:59:29,000 --> 00:59:31,600 See that's like, "I love you." 839 00:59:32,840 --> 00:59:35,880 He's sounding awesome these days. Oh, come on, Casper. 840 00:59:37,320 --> 00:59:40,560 Reach for the sky. 841 00:59:41,240 --> 00:59:43,920 Gary loved that idea. 842 00:59:44,800 --> 00:59:47,040 We were innovating with computers so much 843 00:59:47,120 --> 00:59:50,560 and creating new tools for animation. 844 00:59:50,640 --> 00:59:55,720 Therefore, he was at the same time using computers for the first time, 845 00:59:55,800 --> 00:59:59,040 in really clever ways to do sound design. 846 00:59:59,120 --> 01:00:01,360 You know, it's mind-blowing to think that just, 847 01:00:01,440 --> 01:00:04,680 I don't know, even many people around the industry 848 01:00:04,760 --> 01:00:08,120 were still cutting sound at that time on mag. 849 01:00:09,880 --> 01:00:11,640 Up until the early 1990s, 850 01:00:11,720 --> 01:00:15,760 we were cutting one track of sound at a time on mag film. 851 01:00:16,360 --> 01:00:18,200 But by the mid 1990s, 852 01:00:18,280 --> 01:00:21,920 sound editing migrated to computer systems like Pro Tools. 853 01:00:22,000 --> 01:00:25,040 Now we could see the waveforms we were editing, 854 01:00:25,120 --> 01:00:28,080 but more importantly, sound editors could finally hear 855 01:00:28,160 --> 01:00:30,440 how all their tracks played together. 856 01:00:35,640 --> 01:00:39,080 It was a very exciting time for all people in visual and sound. 857 01:00:41,720 --> 01:00:44,280 So all of a sudden I get this call. 858 01:00:45,240 --> 01:00:48,720 The Wachowskis said, "Remember that really great script called 'The Matrix' 859 01:00:48,800 --> 01:00:51,920 "that we used to talk about on the mixing stage? It's green-lit." 860 01:00:59,400 --> 01:01:03,320 And the fact that the movie was about this digital reality 861 01:01:03,400 --> 01:01:05,720 that was coming through a wire, 862 01:01:05,800 --> 01:01:08,160 I thought there was some parallel 863 01:01:08,240 --> 01:01:13,000 to trying to do all of the sound design in the digital world. 864 01:01:13,080 --> 01:01:15,200 And it was a chance to apply this technology, 865 01:01:15,280 --> 01:01:18,400 that was still sketchy, but allowed for all these possibilities. 866 01:01:22,280 --> 01:01:24,320 One of the first sounds that I developed 867 01:01:24,400 --> 01:01:28,360 was the sound of Neo perceiving himself being digitised. 868 01:01:30,080 --> 01:01:31,720 Did you...? 869 01:01:32,760 --> 01:01:35,480 In the digital world, everything is zeros and ones, 870 01:01:35,560 --> 01:01:37,880 just little boxes basically. 871 01:01:37,960 --> 01:01:41,520 I wanted to get that feeling across to the audience, the jaggedness. 872 01:01:48,920 --> 01:01:50,400 Computers did allow us 873 01:01:50,480 --> 01:01:53,840 to do some very fun creative work on "The Matrix". 874 01:01:54,760 --> 01:01:56,760 There would not have been time otherwise. 875 01:01:57,360 --> 01:02:00,480 And I've always had a love hate thing with technology. 876 01:02:00,560 --> 01:02:02,360 Computers suck. 877 01:02:02,440 --> 01:02:06,000 Part of me just wants to live in the woods and carve sticks. 878 01:02:06,080 --> 01:02:09,960 I have seen the future, this is it, it definitely does not work. 879 01:02:10,480 --> 01:02:14,120 But another part of me just loves all these fancy tools. 880 01:02:15,760 --> 01:02:20,280 These days there are so many tools to manipulate a sound 881 01:02:20,360 --> 01:02:23,920 that now pretty much in sound, if you can think it, you can do it. 882 01:02:33,600 --> 01:02:36,600 But ultimately it wasn't about the technology. 883 01:02:36,680 --> 01:02:39,720 It's the contribution of dozens of sound people. 884 01:02:39,800 --> 01:02:42,560 A circle of talent who collaborate behind the scenes 885 01:02:42,640 --> 01:02:44,600 to help tell the story. 886 01:02:45,320 --> 01:02:51,040 The human voice - it's the great possession of the individual. 887 01:02:51,120 --> 01:02:54,640 It can have all sorts of nuances, and it's unique. 888 01:02:55,360 --> 01:02:57,800 If you listen real close, 889 01:02:57,880 --> 01:03:00,040 you can hear them whisper their legacy to you. 890 01:03:01,160 --> 01:03:07,040 Carpe diem, seize the day, boys. 891 01:03:08,160 --> 01:03:10,400 When you're recording production sound, 892 01:03:10,480 --> 01:03:13,320 what you're really trying to capture is the performance. 893 01:03:13,400 --> 01:03:16,000 You have my permission to die. 894 01:03:16,080 --> 01:03:18,880 Peoples' voices are really complex instruments. 895 01:03:18,960 --> 01:03:20,360 With a boom microphone, 896 01:03:20,440 --> 01:03:24,040 you're about maybe 10 inches away from a person's mouth. 897 01:03:24,720 --> 01:03:27,480 It's an enormous sense of intimacy that you get. 898 01:03:28,640 --> 01:03:33,040 On "Funny Girl", we filmed it to a pre-recorded track. 899 01:03:33,120 --> 01:03:39,480 ♪ For whatever my man is, I am his... 900 01:03:39,560 --> 01:03:41,880 Willy leans towards me and says, "What do you think?" 901 01:03:41,960 --> 01:03:43,960 I said, "It could be better," 902 01:03:44,040 --> 01:03:48,080 because I believe in working in the moment. 903 01:03:48,160 --> 01:03:51,840 I have to do it live. And he said OK. 904 01:03:52,720 --> 01:03:56,000 So they put a boom like this, because it had to be close up. 905 01:03:56,080 --> 01:03:58,720 ♪ When I know I'll come back 906 01:04:00,640 --> 01:04:03,000 ♪ On my knees someday 907 01:04:05,240 --> 01:04:07,520 ♪ For whatever my man is 908 01:04:08,120 --> 01:04:14,520 ♪ I am his forevermore 909 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". 910 01:04:23,680 --> 01:04:26,880 As a director I can hear the truth 911 01:04:26,960 --> 01:04:30,520 when an actor is indicating something or... 912 01:04:32,120 --> 01:04:34,320 ...feeling it. 913 01:04:34,400 --> 01:04:36,600 - What are you, a demon? - I'm not. You know me. 914 01:04:36,680 --> 01:04:39,160 - You spit on the Torah. - I love the Torah. 915 01:04:39,240 --> 01:04:41,840 You spit on it. To spit on everything on everyone. 916 01:04:41,920 --> 01:04:43,320 On nature itself. 917 01:04:43,400 --> 01:04:46,200 In God's face, in my face, in Hadass' face... 918 01:04:47,360 --> 01:04:50,520 As a production sound mixer, one film that I'm very proud of 919 01:04:50,600 --> 01:04:53,120 is a film that Patty Jenkins directed. 920 01:04:53,200 --> 01:04:54,960 It was called "Monster". 921 01:04:55,040 --> 01:04:58,600 It was about the serial killer, Aileen Wuornos. 922 01:04:58,680 --> 01:05:00,280 You don't have to do this. 923 01:05:00,360 --> 01:05:02,040 - Get down. - You don't. 924 01:05:02,120 --> 01:05:04,840 We captured every little breath. 925 01:05:07,560 --> 01:05:11,240 Oh, God. Oh, God. My wife. My wife. 926 01:05:12,040 --> 01:05:14,640 And my daughter is having a baby. 927 01:05:14,720 --> 01:05:17,560 Oh, God. Oh, God. I'm sorry. 928 01:05:17,640 --> 01:05:19,600 That was one of those moments 929 01:05:19,680 --> 01:05:22,200 where literally the hair stood on the back of your neck 930 01:05:22,280 --> 01:05:24,240 at the end of the performance. 931 01:05:26,040 --> 01:05:29,520 But just all those things that you battle as a sound mixer. 932 01:05:29,600 --> 01:05:32,600 You're dealing with wind. That is never our friend. 933 01:05:34,720 --> 01:05:38,120 There's many, many things that are required 934 01:05:38,200 --> 01:05:41,640 for things to look right on camera that are noisy. 935 01:05:46,280 --> 01:05:48,440 I know the ships can sail into the triangles not necessarily... 936 01:05:48,520 --> 01:05:51,320 Let's see who's guilty of putting me in this dreadful pickle. 937 01:05:52,040 --> 01:05:54,720 And if you're hearing those, that takes you out of the story. 938 01:05:57,200 --> 01:05:59,360 That's why we edit the dialogue. 939 01:06:04,240 --> 01:06:05,800 My mom is Kay Rose, 940 01:06:05,880 --> 01:06:09,000 and she was the first woman to win an Oscar for sound. 941 01:06:10,200 --> 01:06:13,560 She could hear clicks and pops that shouldn't be there, 942 01:06:13,640 --> 01:06:16,000 take it out, fill it with ambience, 943 01:06:16,880 --> 01:06:19,160 and it would be very smooth. 944 01:06:20,680 --> 01:06:24,240 "Ordinary People" was a movie my mom and I worked on 945 01:06:24,320 --> 01:06:27,440 and it was one of the hardest sound jobs we've ever done. 946 01:06:28,840 --> 01:06:34,000 The movie is about a family affected by the death of their older son. 947 01:06:34,800 --> 01:06:37,800 The surviving son goes to a psychiatrist. 948 01:06:37,880 --> 01:06:40,280 Uh, hi. Yeah. Come in. It's OK. They all do that. 949 01:06:40,360 --> 01:06:44,320 They chose an aluminium warehouse near an airport 950 01:06:44,400 --> 01:06:47,480 for these very intimate scenes with the psychiatrist... 951 01:06:48,360 --> 01:06:50,200 Sit down. 952 01:06:54,320 --> 01:06:56,400 ...which was awful. 953 01:06:58,080 --> 01:07:00,640 I had a fairly strong idea about sound, 954 01:07:00,720 --> 01:07:03,600 but I had not directed a film before so I needed help, 955 01:07:03,680 --> 01:07:05,520 and she did just a great job. 956 01:07:06,400 --> 01:07:08,400 It took weeks to try to get out 957 01:07:08,480 --> 01:07:13,800 the little clicks and pops and planes for ten minutes of production dialogue. 958 01:07:13,880 --> 01:07:14,400 Weeks! 959 01:07:14,480 --> 01:07:16,400 You wanna tell me about it? 960 01:07:19,760 --> 01:07:22,120 The silence was meant to illustrate pain, 961 01:07:24,160 --> 01:07:26,280 the disconnect between people. 962 01:07:26,360 --> 01:07:28,360 You can go upstairs to that room of yours 963 01:07:28,440 --> 01:07:30,040 and clean out the closet, 964 01:07:30,920 --> 01:07:32,920 because it really is a mess. 965 01:07:37,520 --> 01:07:39,120 The dialogue department 966 01:07:39,200 --> 01:07:42,040 we're the queens of the soundtrack. 967 01:07:42,120 --> 01:07:44,760 Jake, my Jake! 968 01:07:44,840 --> 01:07:46,920 Everything falls apart without it. 969 01:07:47,000 --> 01:07:49,600 It's the thing that everything has to work around. 970 01:07:50,520 --> 01:07:55,280 You don't want to lose a moment in a film saying to your friend, 971 01:07:55,360 --> 01:07:57,360 "What did he say?" 972 01:07:57,880 --> 01:08:01,120 That's why sometimes we need to shoot ADR. 973 01:08:07,560 --> 01:08:09,000 ADR stands for... 974 01:08:09,080 --> 01:08:10,080 Lilian... 975 01:08:10,160 --> 01:08:13,320 ...automated dialogue replacement. 976 01:08:14,480 --> 01:08:17,760 It's dialogue that's re-recorded in a sound studio. 977 01:08:18,800 --> 01:08:19,800 Good. 978 01:08:19,880 --> 01:08:23,800 You pick out some lines that might be really low to hear. 979 01:08:23,880 --> 01:08:28,840 The actors have to come in, re-record, and then we, as editors, 980 01:08:28,920 --> 01:08:32,680 have to cut it to try to match those peoples' mouths. 981 01:08:34,960 --> 01:08:38,480 So Beth Bergeron hired me on "A League of Their Own". 982 01:08:38,560 --> 01:08:42,040 One of the scenes that I cut was when Tom Hanks is yelling... 983 01:08:42,120 --> 01:08:44,120 There's no crying in baseball. 984 01:08:45,600 --> 01:08:49,600 Her crying on the set was actually really kind of soft. 985 01:08:50,400 --> 01:08:53,280 Are you crying? 986 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. 987 01:08:58,360 --> 01:08:59,840 Hey, hey, hey, hey, hey. 988 01:08:59,920 --> 01:09:01,840 Because they're overlapping each other. 989 01:09:01,920 --> 01:09:04,720 All right. Listen, listen, listen. 990 01:09:04,800 --> 01:09:06,760 Rogers Hornsby was my manager, 991 01:09:06,840 --> 01:09:08,800 and he called me a talking pile of pig shit. 992 01:09:08,880 --> 01:09:10,560 So that way when they mix, 993 01:09:10,640 --> 01:09:12,760 they could then bring up her crying when they need to. 994 01:09:12,840 --> 01:09:15,280 - And did I cry? - No. No. 995 01:09:15,360 --> 01:09:17,360 No. Because there's no crying in baseball. 996 01:09:17,440 --> 01:09:19,320 I loved working on that film. 997 01:09:24,040 --> 01:09:28,200 But our job is also to add the background people, 998 01:09:28,280 --> 01:09:30,800 and that's what we call group ADR. 999 01:09:40,160 --> 01:09:44,120 Most people might not realise that that whole opening of "Argo", 1000 01:09:44,200 --> 01:09:46,600 the assumption is, "Oh, that's all recorded on set,." 1001 01:09:48,600 --> 01:09:50,480 But the truth is all of that's reconstructed. 1002 01:09:52,200 --> 01:09:55,720 We had over a hundred Farsi-speaking Persian extras. 1003 01:09:58,520 --> 01:10:02,120 We were micing the crowd from right in the middle of it, 1004 01:10:02,200 --> 01:10:06,120 and from behind windows, from the rooftops. 1005 01:10:09,120 --> 01:10:12,280 After a few hours of this, everyone was like hugging, 1006 01:10:12,360 --> 01:10:15,960 and a few people were crying, and we found out that 1007 01:10:16,040 --> 01:10:20,760 some of our voice talent had actually lived through the revolution. 1008 01:10:24,800 --> 01:10:26,640 And all of that emotion that we were recording, 1009 01:10:26,720 --> 01:10:30,440 it became part of the DNA of the scene. 1010 01:10:46,240 --> 01:10:48,680 When people ask me about working on "Selma" 1011 01:10:48,760 --> 01:10:51,960 I tell them it's the first film that I worked on 1012 01:10:52,040 --> 01:10:53,840 that really meant something. 1013 01:10:57,720 --> 01:10:59,960 When they're on the bridge, 1014 01:11:00,040 --> 01:11:02,920 they're running for their lives so they don't get killed. 1015 01:11:03,480 --> 01:11:08,360 You want the audience to feel the pain. 1016 01:11:16,480 --> 01:11:18,480 When I had people running by the mics, 1017 01:11:18,560 --> 01:11:20,680 it's more real because it's got movement. 1018 01:11:20,760 --> 01:11:22,640 It's got cloth movement. It's got feet. 1019 01:11:22,720 --> 01:11:25,760 They're turning their heads and they're doing efforts, 1020 01:11:25,840 --> 01:11:27,600 and so it just sounds more real. 1021 01:11:29,800 --> 01:11:33,160 It was so important to me to work on this film. 1022 01:11:34,320 --> 01:11:39,720 It allows me to relive some of the things, as I was a child... 1023 01:11:40,960 --> 01:11:44,560 ...that speaks to what people went through, 1024 01:11:44,640 --> 01:11:47,000 what we're still going through today. 1025 01:11:49,800 --> 01:11:52,920 I'm just really proud that I was able to work on it. 1026 01:12:01,520 --> 01:12:03,520 Surrounding the voices in the movie 1027 01:12:03,600 --> 01:12:05,520 is a whole world of sound effects 1028 01:12:05,600 --> 01:12:08,000 created and cut by the sound editors, 1029 01:12:08,080 --> 01:12:10,800 and it consists of three distinct parts. 1030 01:12:12,520 --> 01:12:16,920 ♪ Highway to the danger zone 1031 01:12:18,040 --> 01:12:21,360 I got hired to do "Top Gun" with George Watters. 1032 01:12:22,080 --> 01:12:26,960 So I spent a week in San Diego recording jets with John Fasal. 1033 01:12:31,440 --> 01:12:34,840 But the jets themselves are not that interesting. 1034 01:12:36,240 --> 01:12:39,160 They sounded kind of wimpy. 1035 01:12:42,120 --> 01:12:48,080 So I created a library of mostly exotic animal roars, 1036 01:12:48,800 --> 01:12:53,080 lions and tiger roars and monkey screeches. 1037 01:13:01,720 --> 01:13:04,760 And that wound up being the thing. 1038 01:13:06,960 --> 01:13:09,600 It gave them a cutting, sharp feeling. 1039 01:13:18,240 --> 01:13:23,120 It's the most labour-intensive editing process I've ever experienced. 1040 01:13:25,120 --> 01:13:26,920 It took forever, 1041 01:13:27,000 --> 01:13:31,640 which the studio was very frightened by and didn't understand. 1042 01:13:31,720 --> 01:13:34,840 And so at one point in the middle of this process, 1043 01:13:34,920 --> 01:13:37,320 there was an executive from the studio. 1044 01:13:37,400 --> 01:13:43,920 He came over to fire me, and he said, "This movie isn't about the sound.” 1045 01:13:45,840 --> 01:13:50,440 But months later, we were nominated for an Academy Award. 1046 01:13:51,880 --> 01:13:55,200 And I will say that he sent me flowers, 1047 01:13:55,280 --> 01:13:58,680 and the note said, "I guess it was about the sound." 1048 01:14:00,120 --> 01:14:01,960 She's also a civilian contractor 1049 01:14:02,040 --> 01:14:05,040 so you do not salute her, but you better listen to her. 1050 01:14:05,120 --> 01:14:08,920 People who say, "Well, you know, it's a big action war movie. 1051 01:14:09,000 --> 01:14:10,960 "A guy should do the sound." 1052 01:14:11,040 --> 01:14:13,680 It's like, why? Has he been in a war? 1053 01:14:17,280 --> 01:14:20,920 This idea of one gender being better at it than another, 1054 01:14:21,000 --> 01:14:22,680 I think is kind of silly. 1055 01:14:24,240 --> 01:14:26,320 It's experience. 1056 01:14:27,880 --> 01:14:30,160 You're sitting in front of this big piece of equipment 1057 01:14:30,240 --> 01:14:32,520 and it looks very complicated and technical. 1058 01:14:32,600 --> 01:14:36,280 It's like you peek into the cockpit and there's all that equipment. 1059 01:14:36,360 --> 01:14:38,360 It's like you want to have some big guy 1060 01:14:38,440 --> 01:14:41,000 who looks like he was in the Air Force in there, 1061 01:14:41,080 --> 01:14:45,080 'cause if anything goes wrong, that person will... get a screwdriver. 1062 01:14:45,160 --> 01:14:48,640 I don't know, because the job consists of 1063 01:14:48,720 --> 01:14:50,720 pushing little buttons and turning little knobs, 1064 01:14:50,800 --> 01:14:53,800 and that's not particularly a macho endeavour at all. 1065 01:14:57,000 --> 01:14:59,720 But if you don't see anybody like yourself doing something, 1066 01:14:59,800 --> 01:15:02,480 then that doesn't seem like a place you could fit in. 1067 01:15:12,520 --> 01:15:15,000 Foley is a subset of sound effects. 1068 01:15:20,720 --> 01:15:22,720 We're called Foley artists. 1069 01:15:22,800 --> 01:15:26,000 And truly what we do is custom sound effects. 1070 01:15:29,240 --> 01:15:31,760 We're really like performers. 1071 01:15:32,960 --> 01:15:35,360 Getting into their mindset. 1072 01:15:40,480 --> 01:15:42,680 We really give them character. 1073 01:15:55,320 --> 01:15:57,920 It's that detail that you don't really think about 1074 01:15:58,000 --> 01:16:00,080 that makes it come alive. 1075 01:16:03,520 --> 01:16:05,680 There's a famous story where Jack Foley... 1076 01:16:06,280 --> 01:16:08,360 ...heard the director of "Spartacus" 1077 01:16:08,440 --> 01:16:10,920 bemoaning the fact that the armour they were wearing, 1078 01:16:11,000 --> 01:16:13,200 sounded like tin pots. 1079 01:16:17,720 --> 01:16:20,360 They were saying, "We'll have to go back and reshoot the picture." 1080 01:16:20,440 --> 01:16:22,040 Huge cost. 1081 01:16:22,120 --> 01:16:24,080 Jack said, "Wait a second." 1082 01:16:24,160 --> 01:16:27,040 He runs out to his car, he grabs some props, 1083 01:16:27,120 --> 01:16:31,320 some big set of keys etc., comes in, and works his magic. 1084 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. 1085 01:16:53,120 --> 01:16:56,440 The last subset of sound effects are ambiences, 1086 01:16:57,400 --> 01:16:59,200 atmospheric beds of sounds 1087 01:16:59,280 --> 01:17:01,880 that editors lay underneath everything else. 1088 01:17:06,880 --> 01:17:09,200 I think on any film, like "Lost in Translation", 1089 01:17:09,280 --> 01:17:13,360 building the world and the atmosphere, the sound is such a big part of it 1090 01:17:13,440 --> 01:17:15,800 that you don't realise until you're working on it. 1091 01:17:19,880 --> 01:17:21,480 Picking up all these little details 1092 01:17:21,560 --> 01:17:25,680 and adding these layers that makes you feel like you're really there. 1093 01:17:31,000 --> 01:17:33,520 There's this whole other world that it brings - 1094 01:17:35,160 --> 01:17:37,240 it's really half the movie. 1095 01:17:37,320 --> 01:17:40,600 It's a bed of sound in the scene 1096 01:17:40,680 --> 01:17:44,920 that sets you in that environment. It could be traffic. 1097 01:17:47,080 --> 01:17:48,080 A bed of Cicadas. 1098 01:17:50,400 --> 01:17:52,440 The sound of a room... 1099 01:17:57,040 --> 01:17:59,160 ...or birds. 1100 01:18:00,960 --> 01:18:03,360 It has to be evocative. 1101 01:18:07,040 --> 01:18:09,760 When I was 11 years old, I had a mild case of polio. 1102 01:18:10,280 --> 01:18:12,840 So as a reward for getting better, 1103 01:18:12,920 --> 01:18:16,000 my mom drove me to Yosemite National Park. 1104 01:18:16,080 --> 01:18:18,040 Once I went through that tunnel and it opened up, 1105 01:18:18,120 --> 01:18:22,120 and I saw Half Dome and El Capitan, I said, "Well, this is it for me." 1106 01:18:22,200 --> 01:18:24,400 I don't wanna look at this. I wanna be in it. 1107 01:18:29,440 --> 01:18:34,280 The sound of those falls rushing past me as I climbed up. 1108 01:18:35,640 --> 01:18:38,440 The power of water. 1109 01:18:40,040 --> 01:18:42,040 I like to use that in film. 1110 01:18:43,440 --> 01:18:45,520 I was working on "A River Runs Through It", 1111 01:18:45,600 --> 01:18:47,640 and the sound designer just said, 1112 01:18:47,720 --> 01:18:49,760 "Look, I just need you to go out and record sounds." 1113 01:18:52,440 --> 01:18:55,560 I knew every stream within a hundred miles. 1114 01:18:58,280 --> 01:19:02,440 When I heard it back in the film, I could feel the moisture of the stream, 1115 01:19:02,520 --> 01:19:06,040 and I could hear the presence of this volume of air. 1116 01:19:08,960 --> 01:19:11,320 That hit me so heavily, 1117 01:19:12,920 --> 01:19:14,640 I thought to myself, 1118 01:19:14,720 --> 01:19:18,600 "This is me with my father fishing as an eight-year-old boy." 1119 01:19:20,720 --> 01:19:27,400 It brings me to a really peaceful, important time in my life. 1120 01:19:30,360 --> 01:19:33,800 Everything has emotion, and therefore spirit. 1121 01:19:36,080 --> 01:19:38,720 Ang really wanted the wind 1122 01:19:38,800 --> 01:19:40,720 to have its own character in this movie. 1123 01:19:47,080 --> 01:19:49,800 Wind sound was very expressive for the characters. 1124 01:19:53,600 --> 01:19:56,600 How much they're quiet about their feelings. 1125 01:19:59,040 --> 01:20:01,720 How much repression they endure. 1126 01:20:12,640 --> 01:20:14,920 That's the art of sound. 1127 01:20:15,920 --> 01:20:21,200 That ability to interpret expressively things that are happening. 1128 01:20:23,160 --> 01:20:26,560 The final element of the soundtrack is music. 1129 01:20:26,640 --> 01:20:29,120 It has a direct connection to emotion. 1130 01:20:36,160 --> 01:20:38,840 The great thing about music is 1131 01:20:38,920 --> 01:20:45,120 it's there that you, as an audience, can connect on a human level. 1132 01:20:46,960 --> 01:20:49,760 It has a way of inviting you in. 1133 01:20:51,880 --> 01:20:54,920 The way in which he records them, the way in which they're executed 1134 01:20:55,000 --> 01:20:59,480 is extremely lavish and epic really. 1135 01:21:09,160 --> 01:21:11,640 I love that Hans doesn't give up, 1136 01:21:11,720 --> 01:21:17,120 and he just keeps trying to make it better and better. He's obsessed. 1137 01:21:17,200 --> 01:21:19,240 Looks who's here. 1138 01:21:19,320 --> 01:21:23,440 I think the heart has to come first and then the intellect follows. 1139 01:21:25,560 --> 01:21:27,720 Hey, guys. 1140 01:21:28,440 --> 01:21:31,560 - Daddy. - Hey, how are you? 1141 01:21:33,960 --> 01:21:37,960 Your job is to come up with the unimaginable for them. 1142 01:21:47,320 --> 01:21:49,640 You think about people's favourite movie moments 1143 01:21:49,720 --> 01:21:52,480 and it's usually a score element. 1144 01:21:54,440 --> 01:21:56,440 "Black Panther" was set in Africa, 1145 01:21:56,520 --> 01:21:59,080 and music is so important in setting that up. 1146 01:22:01,640 --> 01:22:05,160 So my composer, he was the first person I called. 1147 01:22:05,240 --> 01:22:07,320 When I write music for any of his projects, 1148 01:22:07,400 --> 01:22:10,680 I'm always pushing myself to another kind of level. 1149 01:22:10,760 --> 01:22:13,440 Music is what ties the whole thing together. 1150 01:22:16,680 --> 01:22:19,080 Experimenting in contemporary music... 1151 01:22:22,680 --> 01:22:24,480 ...but also not being scared 1152 01:22:24,560 --> 01:22:27,560 to bring in the classic, really heroic theme. 1153 01:22:35,040 --> 01:22:39,960 And how do we tie that together in one consistent piece of music? 1154 01:22:40,040 --> 01:22:43,960 We're going to write something new, create something completely different. 1155 01:22:44,040 --> 01:22:46,480 Then we watched it and it was like, "This is perfect." 1156 01:23:00,720 --> 01:23:03,040 And a song can do in three minutes 1157 01:23:03,120 --> 01:23:05,440 what a really great movie needs hours to do. 1158 01:23:08,440 --> 01:23:11,760 It's the collaborative effort of all those people... 1159 01:23:14,920 --> 01:23:18,080 ...that make that soundtrack what it is. 1160 01:23:19,640 --> 01:23:24,360 And the very last step is to provide that to the sound mixing stage. 1161 01:23:28,800 --> 01:23:31,840 Re-recording mixing is a key component of film sound. 1162 01:23:33,280 --> 01:23:36,120 You take all the elements from the sound editors 1163 01:23:36,200 --> 01:23:39,440 and you finally bring them together like a conductor would. 1164 01:23:43,280 --> 01:23:45,840 You may turn up the music to enhance the emotion. 1165 01:23:56,280 --> 01:23:59,280 You may turn up the sound effects to add a visceral punch. 1166 01:24:08,000 --> 01:24:11,760 Or you may turn them both down to focus on a line of dialogue. 1167 01:24:12,680 --> 01:24:15,000 I'm glad it's you... 1168 01:24:21,200 --> 01:24:25,320 Mixing also involves thinking about where sounds are placed on the screen 1169 01:24:25,400 --> 01:24:27,360 and how they move. 1170 01:24:27,440 --> 01:24:31,480 We used this panning technique everywhere in "Roma". 1171 01:24:31,560 --> 01:24:34,960 Like what components could go from that side to that side, 1172 01:24:35,040 --> 01:24:37,000 left, centre, right. 1173 01:24:39,760 --> 01:24:44,040 Have the voices move that way when the camera pans that way. 1174 01:24:49,240 --> 01:24:53,000 Alfonso was constantly trying to get us to keep things moving. 1175 01:24:56,800 --> 01:25:00,480 "Roma" is filled with a lot of foreground/background sounds. 1176 01:25:00,560 --> 01:25:02,680 The film is very aural. 1177 01:25:02,760 --> 01:25:05,640 There are a lot of sounds going on. 1178 01:25:07,000 --> 01:25:10,760 The dance between the elements is what I consider cinematic. 1179 01:25:23,160 --> 01:25:25,560 This is what the core of mixing is - 1180 01:25:25,640 --> 01:25:30,640 taking all these components, creating a place for them all. 1181 01:25:33,440 --> 01:25:35,800 So it's just really building the tracks slowly... 1182 01:25:37,280 --> 01:25:39,440 ...having everything play harmoniously. 1183 01:25:44,600 --> 01:25:48,920 At one point you go, "OK, we got a movie. "Sounds like a movie." 1184 01:26:01,480 --> 01:26:04,480 When you feel those goosebumps then you've done it right. 1185 01:26:09,360 --> 01:26:14,880 The circle of talent is a collaborative group of people 1186 01:26:14,960 --> 01:26:19,320 that spend hours and hours and days and days in the trenches 1187 01:26:19,400 --> 01:26:22,040 that are doing all the work. 1188 01:26:22,120 --> 01:26:26,000 And if people have to try and find meaning in what they do, 1189 01:26:26,080 --> 01:26:28,760 it's the group of people that you're working with. 1190 01:26:30,440 --> 01:26:33,720 But it's easy to lose sight of that. 1191 01:26:35,280 --> 01:26:38,600 Because I had public success so quickly in my career, 1192 01:26:40,040 --> 01:26:43,160 you come to work every day thinking you're an Oscar-winning genius. 1193 01:26:43,240 --> 01:26:44,880 Thank you very much. 1194 01:26:44,960 --> 01:26:48,480 But you can't put that kind of pressure on yourself, 1195 01:26:48,560 --> 01:26:52,360 that each time you do something it's going to shake the world. 1196 01:26:53,440 --> 01:26:56,080 And it led to a nervous breakdown. 1197 01:26:56,160 --> 01:26:58,200 It finally came one day. I couldn't work anymore. 1198 01:26:58,280 --> 01:27:01,400 I was just sitting at the console crying to myself. 1199 01:27:01,480 --> 01:27:04,800 Didn't know why. It was because I had invested too much in it. 1200 01:27:08,720 --> 01:27:11,360 One of the main things I would always try to do 1201 01:27:11,440 --> 01:27:14,160 was get home for dinner with my family. 1202 01:27:15,760 --> 01:27:18,760 I have to appreciate my wife, Peggy, on all the years, 1203 01:27:18,840 --> 01:27:22,640 she's dragged me back out of my world of make-believe. 1204 01:27:24,600 --> 01:27:29,080 Don't lose your foot. Plant it in something outside. 1205 01:27:30,760 --> 01:27:32,640 Those are good things. 1206 01:27:36,040 --> 01:27:38,040 You get to the point where you realise 1207 01:27:38,120 --> 01:27:40,720 that you want to be happy doing the work you're doing. 1208 01:27:40,800 --> 01:27:44,280 The pleasure is on... what happens on a daily basis. 1209 01:27:44,360 --> 01:27:46,840 You come on any given Tuesday 1210 01:27:47,400 --> 01:27:51,760 and you're working with making pass-bys out of bicycle rattling. 1211 01:27:53,680 --> 01:27:59,560 If you can enjoy that and see that for what it is for a daily task, 1212 01:27:59,640 --> 01:28:02,280 then that's where the pleasure will lie. 1213 01:28:05,560 --> 01:28:09,120 I love what I do. It's very tedious. 1214 01:28:09,200 --> 01:28:11,280 It's very time-consuming. 1215 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." 1216 01:28:16,880 --> 01:28:19,360 You know, it's just... it's really satisfying. 1217 01:28:21,200 --> 01:28:24,160 I just couldn't believe I was getting paid real money 1218 01:28:24,240 --> 01:28:25,800 to have so much fun. 1219 01:28:27,240 --> 01:28:29,400 I always say I would hate to have a real job. 1220 01:28:31,160 --> 01:28:32,960 Pinch myself every day. 1221 01:28:35,880 --> 01:28:37,920 Even in my early sound career, 1222 01:28:38,000 --> 01:28:40,800 I remember how magical it felt to me. 1223 01:28:42,600 --> 01:28:45,640 Movies were a place to have emotion that was safe. 1224 01:28:46,440 --> 01:28:49,160 Of all the ways, all the things I can do in movies 1225 01:28:49,240 --> 01:28:51,760 or have done in movies, sound is still the best way 1226 01:28:51,840 --> 01:28:54,560 to experience emotion working on a movie to me. 1227 01:28:56,200 --> 01:29:00,800 So the creation of the sound film made sound an art form. 1228 01:29:06,000 --> 01:29:07,920 It's been very valuable 1229 01:29:08,000 --> 01:29:10,760 in the evolution of human’s relationship 1230 01:29:10,840 --> 01:29:12,880 to the cosmos. 1231 01:29:15,240 --> 01:29:18,600 The work you all do make massive contributions 1232 01:29:18,680 --> 01:29:20,600 to the telling of the story. 1233 01:29:21,800 --> 01:29:24,920 And I love all your cleverness and ingenuity, 1234 01:29:25,000 --> 01:29:27,120 and I love the sense of fun. 1235 01:29:30,320 --> 01:29:32,760 It makes these moments eternal. 1236 01:29:36,440 --> 01:29:38,400 You know how to whistle, don't you, Steve? 1237 01:29:41,080 --> 01:29:43,240 Come on, men! 1238 01:30:00,520 --> 01:30:05,360 I'll be right here. 1239 01:30:06,680 --> 01:30:09,320 Run, Forrest, run! 1240 01:30:11,760 --> 01:30:13,840 Hold on! 1241 01:30:24,057 --> 01:30:29,057 Subtitles by explosiveskull www.OpenSubtitles.org105094

Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.