In part two of our conversation, fellow sound designers Randy Thom and Chris Foster pose questions to Walter, we discuss the state of
cinema sound before and after Apocalypse Now, why film school can be a good idea, and how you can underline a character's emotional state with carefully chosen sound effects.
Not exact matches
The early 1970s to the late 1980s was a unique moment in Australian
cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and
sounds unlike anything they had seen in Australia
before.
Likewise, the meticulous
sound design that permeates Weerasethakul's
cinema envelops the viewer from the opening moments, as the rumbling of machinery does battle with the soft susurrus of nature
before the film's first image arrives.
If the name
sounds familiar, maybe it's because you used to devour the annual recounting of
cinema moments in «Film Comment,» or
before that, in «Movietone News,» where it was born decades ago.
«The changes we are witnessing are being driven by the powerful
sound of new voices, of different voices, of our voices, joining together in a mighty chorus that is finally saying, «Time's up,»» said Judd,
before introducing a montage of women and minority filmmakers talking about representation and intersectionality in
cinema.