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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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Before we were born,
you're looking at darkness.

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Sound is the first sense
that gets plugged in.

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Six months,
seven months into the womb,

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it's hearing
the mother's heartbeat,

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it's hearing her breathing,

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it's hearing
dad shouting from the garage.

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It's making sense of the world.

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You have emerged
into a kind of consciousness

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using only sound.

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And then you're born.

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Sound affects us in a deeper way

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almost than... than image does.

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It goes deeper.

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And yet we're naturally
seemingly oblivious to that.

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Film sound
is an illusionary art,

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as if you're just hearing
the natural sounds...

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Happening in the world
on screen.

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00:02:04,374 --> 00:02:07,461
It's subliminal,
and it's a purely emotional way

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of thinking about a movie.

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It's stealthy sound work.

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It's flying under the radar.

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It's understated.

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00:02:24,061 --> 00:02:28,398
But what sound adds to picture

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is so exhilarating
that I just was hooked

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and pretty much never
looked back.

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When you're depressed,
it's not working,

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00:02:39,076 --> 00:02:40,261
and then the sound design
comes in.

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A feeling of scale
that the sound was giving.

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And I think the sound
in many ways

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is more tied to imagination.

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If you're born to be artistic,

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then sound is gonna
be part of the deal.

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It's part of being human.

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You know, movie is silent sound.

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They are only expressive
with silent sound.

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00:03:04,935 --> 00:03:08,271
People always talk
about the look of a film.

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They don't talk so much
about sounds of a film,

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but it's equally important,
sometimes more important.

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I'm not an animal!

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The point is to convey
an emotion.

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Everything
is in service of that.

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And the sound
is half of the experience.

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I've always been of the belief

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that our ears lead our eyes
to where the story lives.

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When you're
designing sound on a film today,

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like saving private Ryan,
you're bringing together

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a rich, complex,
orchestration of sounds.

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And every film I've worked on
with Steven Spielberg,

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he gives a gift
of here's a scene,

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here's a moment,
and I'm counting on sound

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to help tell the story.

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There you go.

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What strikes me most
bout especially the opening

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of private Ryan

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is that it was designed
to use sound

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to tell a part of the story
that it's not showing you.

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So a scene like that

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fully takes advantage
of how a soldier takes in a war,

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which is a pretty narrow
point of view.

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Sound got
to handle the scale of it.

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And we spent a lot of time
on that first 25 minutes.

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It was weeks and weeks and weeks

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00:05:07,182 --> 00:05:09,976
of just balancing
all the sound effects

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that Gary and his crew provided.

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I kinda came up with, like,
a certain pattern or rhythm

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of cutting these machine guns

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for the background battle...

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So that there was
some form to this battle.

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There's a rhythm.
There's always a rhythm.

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Even to chaos, there's a rhythm.

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The point of view
is great for sound

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'cause it allows you
to go inside the head.

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So I designed a sequence

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where when the explosion
hits near captain Miller,

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all the sound goes out.

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And that came
from an actual veteran

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that told me
that was how it affected him.

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So it put you
deep inside his experience.

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If you look at it, it never has,

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until the battle is over,
a wide shot.

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It gives you a grand-scale
longest day-style of d-day.

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It doesn't do it,
it's all very intimate.

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And very importantly,

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there's no score.

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John Williams would've done
a beautiful score,

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would've had
a whole different feeling.

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00:06:28,430 --> 00:06:30,724
But without score,
it tells you this is real.

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And the score comes
in, the score is often used...

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I think of it
as like a life raft.

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You have an emotional moment
in the movie,

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and the score comes in,
it just gives you

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something to hold onto.

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[Emotional orchestral music
plays}

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These different
elements of sounds

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we use in movies,

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music, sound effects
and voice are similar

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to the instrument groupings
of an orchestra.

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00:07:06,301 --> 00:07:08,094
But film sound work
wasn't always like that.

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You know, with dozens
of sound editors

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editing thousands of tracks.

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And it ultimately took people

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like Ben burtt on star wars

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and Walter murch
on apocalypse now

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to get us
to the full immersive soundtrack

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that the audience has come
to expect in movies today,

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created by a team
of sound artists,

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a circle of talent.

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But when it all started,
movies were silent.

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"Mary had a little lamb,

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its fleece was white as snow,

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and everywhere that Mary went,
the lamb was sure to go."

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The invention of the phonograph

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was a truly monumental step
for humanity.

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We could now capture
sound forever.

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Edison originally developed

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the motion picture camera

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because he wanted images
to go along with his phonograph.

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So the audio came first.

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But picture works at one speed,

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and sound is on another.

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And they had no way
to put it in sync,

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which is why the whole project
was abandoned.

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But they were just so eager
to put sound to movies

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'cause everybody knew this
would elevate the experience.

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Films were projected
with a full live orchestra.

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They could be projected

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with people
talking behind the screen.

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And there were actually
people that traveled around

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doing sound effects live
to silent films.

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There's films like wings

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when they were played
in New York in its big premiere

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so they had performers on stage
doing the live sound effects

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for airplane engines and using
percussion instruments

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for the boom of artillery
and explosions.

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They could do some wind,

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00:09:01,624 --> 00:09:03,024
they could do
some galloping horses.

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There just wasn't
technically a way

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of capturing
and recording the sounds

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and attaching them
to the movies yet.

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Until 1926 Warner brothers did
Don Juan with John Barrymore,

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and it actually had
a synchronized music track

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which was mechanically
connected to a projector.

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But then in 1927,

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they actually
recorded dialogue on the set,

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and so the jazz singer
had spoken portions of it.

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J“ toot, toot,
tootsie, goodbye j“

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j“ toot, toot,
tootsie, don't cry I

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Warner brothers
theater in New York City,

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where the jazz singer
is now playing,

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is sold out
for many weeks in advance.

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What struck people most
was ai jolson's speaking voice,

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not even his singing voice,
but that he spoke

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was revolutionary
to audiences at the time.

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And that's
what they wanted to hear.

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Wait a minute, wait a minute.

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You ain't heard nothing yet.

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Wait a minute, I tell you.

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You ain't heard nothing.

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And of course,
it was a gigantic sensation.

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So Hollywood was faced
with what to do now.

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They had developed a way
of shooting movies without sound

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and that involved
certain freedom on a set

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to be in a noisy place,
'cause it didn't matter.

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Suddenly there was
this revolution

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when they had to start entombing
the productions in sound stages

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so all sound was blocked out
from the outside world.

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All right, here we go. Quiet!

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- Quiet!
- Quiet!

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Roll em!

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00:10:47,939 --> 00:10:50,608
But the microphones'
ranges were so short,

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the actors couldn't even move.

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She's gotta talk into the mic.

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I can't pick it up.

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Don't you remember I told you

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there's a microphone
right there in the bush.

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It was very limiting.

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In the...

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00:11:13,923 --> 00:11:15,466
Surely...

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00:11:15,550 --> 00:11:16,718
0h.

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But even despite
the limitations,

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audiences loved sound,

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and I think it's
because even in the sound

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of a human voice,
we carry emotion.

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Antonio.

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He's alive!

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00:11:41,576 --> 00:11:43,136
But the addition of the voice

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was not the only thing
that changed

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in movies at that time.

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00:11:46,539 --> 00:11:48,791
Filmmakers began to realize
that sound effects

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00:11:48,875 --> 00:11:50,877
were also an important part
of cinema.

193
00:11:54,964 --> 00:11:56,764
And they discovered
that you don't get

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00:11:56,841 --> 00:11:58,468
all the sound effects you want

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00:11:58,551 --> 00:12:01,012
by just hanging a microphone out
over the set.

196
00:12:01,095 --> 00:12:02,639
The sounds aren't there.

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00:12:03,556 --> 00:12:05,808
So this is where slowly the idea

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00:12:05,892 --> 00:12:08,478
of the sound editor evolved

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00:12:08,561 --> 00:12:11,731
to add sounds after the fact.

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00:12:12,899 --> 00:12:15,026
There's fire,
there's explosions,

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00:12:15,109 --> 00:12:17,278
there's barnyard animals.

202
00:12:17,362 --> 00:12:18,613
Cars and...

203
00:12:18,696 --> 00:12:19,697
Motorcycles.

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00:12:19,781 --> 00:12:20,990
Different from buses,

205
00:12:21,074 --> 00:12:22,867
different from trains.

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00:12:22,951 --> 00:12:24,369
With a little bit of wind

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00:12:24,452 --> 00:12:25,852
in the background,
and there's rain.

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00:12:29,040 --> 00:12:32,001
As sound editors,
we create a sound world

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00:12:32,085 --> 00:12:35,088
independent of what got recorded
at the time of shooting.

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00:12:43,137 --> 00:12:44,417
But it isn't probably

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00:12:44,472 --> 00:12:46,099
until you get to king Kong

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00:12:46,182 --> 00:12:48,017
that you could actually call it
sound design.

213
00:12:55,024 --> 00:12:56,584
Many of the techniques we use

214
00:12:56,651 --> 00:12:58,278
to manipulate sound today

215
00:12:58,361 --> 00:13:00,989
were pioneered on that film.

216
00:13:01,072 --> 00:13:04,534
The bulk of it is all about
characters that don't exist.

217
00:13:04,617 --> 00:13:06,744
So Murray spivack
had to get creative

218
00:13:06,828 --> 00:13:08,746
to find the right sound.

219
00:13:10,456 --> 00:13:14,711
I went to the selig zoo
at the time.

220
00:13:15,628 --> 00:13:18,881
I got all the roars I needed.

221
00:13:18,965 --> 00:13:22,969
I then slowed those down
to half speed

222
00:13:24,178 --> 00:13:28,182
and I played
the tiger growl backwards

223
00:13:28,266 --> 00:13:31,519
against a lion roar forward,

224
00:13:31,602 --> 00:13:34,731
and it gave me
sort of an uncanny roar.

225
00:13:37,567 --> 00:13:41,029
These sound design
tricks are still in use today,

226
00:13:41,112 --> 00:13:43,906
and that was a big step forward.

227
00:13:43,990 --> 00:13:47,285
But Murray spivack
operated outside the system.

228
00:13:47,368 --> 00:13:50,872
He was locked away
in the music department

229
00:13:50,955 --> 00:13:52,707
and no one knew
what he was doing.

230
00:13:54,834 --> 00:13:56,554
I think they felt
that the studio would say,

231
00:13:56,586 --> 00:13:57,730
"don't bother with all that,"

232
00:13:57,754 --> 00:13:59,547
if they knew the kind of effort

233
00:13:59,630 --> 00:14:00,673
he was putting into it.

234
00:14:03,801 --> 00:14:05,928
Because the studios
had their own collections

235
00:14:06,012 --> 00:14:08,222
and their own stock
of sound effects,

236
00:14:08,306 --> 00:14:09,515
and they would repeat them.

237
00:14:09,599 --> 00:14:11,309
They wouldn't change them
over the years.

238
00:14:12,727 --> 00:14:15,063
Each studio had
its own ricochet...

239
00:14:16,230 --> 00:14:19,275
And face punch and explosion.

240
00:14:21,152 --> 00:14:22,779
If they worked out successfully,

241
00:14:22,862 --> 00:14:25,031
they'd be kept and used
over and over again.

242
00:14:33,873 --> 00:14:36,667
They were just expected
to get something in there

243
00:14:36,751 --> 00:14:38,044
and it'd be on budget.

244
00:14:41,381 --> 00:14:44,342
But some of the biggest
innovations in film sound

245
00:14:44,425 --> 00:14:45,968
actually had their roots
in radio.

246
00:14:46,052 --> 00:14:49,263
Who knows what evil

247
00:14:49,347 --> 00:14:52,725
lurks in the hearts of men?

248
00:14:52,809 --> 00:14:54,310
The shadow or the whistler,

249
00:14:54,394 --> 00:14:57,230
any of those shows
were fun to listen to.

250
00:14:57,313 --> 00:14:59,565
And sound brought it to life.

251
00:15:00,691 --> 00:15:02,276
Doors opening and closing

252
00:15:02,360 --> 00:15:03,360
and footsteps.

253
00:15:04,570 --> 00:15:06,364
Honey,
we are going to the kitchen.

254
00:15:06,447 --> 00:15:08,324
Oh, it's not Milo
playing chess again.

255
00:15:08,408 --> 00:15:10,368
What is it this time?

256
00:15:10,451 --> 00:15:12,203
I can remember
lying on the floor

257
00:15:12,286 --> 00:15:15,081
in front of the radio console.

258
00:15:15,164 --> 00:15:17,583
I thought, "when I grow up,

259
00:15:17,667 --> 00:15:20,128
I'm gonna make
footsteps like that."

260
00:15:20,211 --> 00:15:23,881
Your imagination could dramatize
what you were hearing.

261
00:15:23,965 --> 00:15:25,317
I just thought
it was really great.

262
00:15:25,341 --> 00:15:27,061
You know, it was great
for your imagination,

263
00:15:27,093 --> 00:15:28,719
great for your creative spirit,
simple.

264
00:15:30,179 --> 00:15:34,058
And the innovator here
was Orson welles.

265
00:15:34,142 --> 00:15:38,604
He was very adventuresome
in sound perspective.

266
00:15:38,688 --> 00:15:41,774
Now the smoke
is crossing sixth Avenue.

267
00:15:41,858 --> 00:15:43,359
Fifth Avenue.

268
00:15:43,443 --> 00:15:46,237
A hundred yards away.

269
00:15:49,240 --> 00:15:51,617
And so when he did citizen Kane,

270
00:15:51,701 --> 00:15:56,622
he brought those techniques
in sound from radio to film.

271
00:15:59,584 --> 00:16:01,919
By being as aggressive
spatially with sound

272
00:16:02,044 --> 00:16:04,922
as he was with his depth
of focus on camera.

273
00:16:05,006 --> 00:16:07,258
Charlie, what time is it?

274
00:16:09,385 --> 00:16:11,053
New York?

275
00:16:12,388 --> 00:16:14,265
Hm?

276
00:16:14,348 --> 00:16:16,184
This idea that every space

277
00:16:16,267 --> 00:16:19,270
has its own signature,

278
00:16:19,353 --> 00:16:21,772
the sound energizes
the environment.

279
00:16:21,856 --> 00:16:25,485
Now in complete control
of the government of the state.

280
00:16:26,402 --> 00:16:30,239
And you can use even
very refined elements

281
00:16:30,323 --> 00:16:32,909
of reverberation
to help you tell your story.

282
00:16:34,827 --> 00:16:36,387
But this was a new innovation

283
00:16:36,454 --> 00:16:38,372
for sound in film.

284
00:16:38,456 --> 00:16:40,875
The norm
from the 1930s to the 1960s

285
00:16:40,958 --> 00:16:44,962
was to emphasize music
over sound effects.

286
00:16:45,046 --> 00:16:46,631
Why don't you say it,
you coward?

287
00:16:46,714 --> 00:16:48,257
You're afraid to marry.

288
00:16:48,341 --> 00:16:50,068
You'd rather live
with that silly little fool

289
00:16:50,092 --> 00:16:51,820
who can't open her mouth
except to say, "yes," "no,"

290
00:16:51,844 --> 00:16:53,444
and raise a passel
of mealy-mouthed brats

291
00:16:53,513 --> 00:16:54,305
just like her!

292
00:16:54,388 --> 00:16:55,991
You mustn't say things like that
about Melanie.

293
00:16:56,015 --> 00:16:57,975
Who are you
to tell me I mustn't?

294
00:16:58,059 --> 00:17:00,811
But if you run music
all the time in the film,

295
00:17:00,895 --> 00:17:04,482
it has a cumulatively
counterproductive effect,

296
00:17:04,565 --> 00:17:06,442
constantly injecting steroids.

297
00:17:14,617 --> 00:17:17,328
But if you want
unrelieved tension,

298
00:17:17,411 --> 00:17:19,038
don't use any music at all.

299
00:17:23,209 --> 00:17:26,420
Hitchcock got
the power of sound.

300
00:17:26,504 --> 00:17:30,591
He actually essentially
dictated a sound script

301
00:17:30,675 --> 00:17:34,011
and he really incorporated
the uses of the sound

302
00:17:34,095 --> 00:17:36,681
into the concept of the film.

303
00:17:49,277 --> 00:17:51,028
Damn it.

304
00:17:54,031 --> 00:17:55,408
Hearing their breaths

305
00:17:55,491 --> 00:17:57,743
and feeling
the impacts and hits...

306
00:17:57,827 --> 00:18:00,371
They kept you very connected
right with the characters.

307
00:18:02,331 --> 00:18:04,125
And I think
that that was a scene

308
00:18:04,208 --> 00:18:05,585
where it worked really well,

309
00:18:05,668 --> 00:18:07,461
just having effects
on their own.

310
00:18:10,298 --> 00:18:12,341
David lean focused on sound.

311
00:18:14,760 --> 00:18:16,554
Stanley kubrick
focused on sound.

312
00:18:24,770 --> 00:18:26,897
But the studios
weren't encouraging

313
00:18:26,981 --> 00:18:28,274
of that kind of thing.

314
00:18:30,026 --> 00:18:31,777
The Hollywood studio system

315
00:18:31,861 --> 00:18:34,655
often had a built-in approach
to film sound

316
00:18:34,739 --> 00:18:36,532
that was controlled
and traditional.

317
00:18:40,494 --> 00:18:42,330
That's a parallel
to filmmakers maybe making

318
00:18:42,413 --> 00:18:43,932
the same kind of movies
over and over again.

319
00:18:43,956 --> 00:18:46,334
J“ pillow talk j“

320
00:18:46,417 --> 00:18:48,169
j“ girls, girls j'

321
00:18:48,252 --> 00:18:49,879
j“ girls, girls j'

322
00:18:49,962 --> 00:18:52,757
j” beach blanket bingo j“

323
00:18:52,840 --> 00:18:56,010
j“ that's the name
of the game j'

324
00:18:56,093 --> 00:18:57,720
it was looked upon
as like a factory.

325
00:18:59,180 --> 00:19:01,557
And that tends to restrict

326
00:19:01,641 --> 00:19:03,100
the adventuresomeness,

327
00:19:03,225 --> 00:19:05,686
especially
in a studio environment.

328
00:19:06,687 --> 00:19:08,314
So the Hollywood films
that I had seen

329
00:19:08,397 --> 00:19:10,107
as a kid growing up

330
00:19:10,191 --> 00:19:12,568
didn't make me
want to become a filmmaker.

331
00:19:12,652 --> 00:19:16,405
My way of thinking,
they were corporate creations.

332
00:19:21,035 --> 00:19:25,206
But when I was ten, I learned
that there was such a thing

333
00:19:25,289 --> 00:19:26,666
as a tape recorder.

334
00:19:28,042 --> 00:19:33,047
And I understood intuitively
what it did and how it did it.

335
00:19:33,964 --> 00:19:36,133
Enemy
tripod machines now in sight.

336
00:19:36,258 --> 00:19:38,135
I would record from the radio

337
00:19:38,260 --> 00:19:39,970
onto the tape recorder.

338
00:19:40,054 --> 00:19:41,931
The war
of the worlds by hg Wells.

339
00:19:42,014 --> 00:19:44,767
And then cut
the tape into pieces

340
00:19:44,850 --> 00:19:47,770
and then rearrange the pieces
and scotch tape them

341
00:19:47,853 --> 00:19:49,939
in a different order
than they were recorded

342
00:19:50,022 --> 00:19:52,441
and flip them upside down
and play them backwards

343
00:19:52,525 --> 00:19:54,485
and hear what that sounded like.

344
00:19:54,568 --> 00:19:56,153
Now that's...

345
00:19:56,278 --> 00:19:58,406
Now that's...
Now that's... now that's...

346
00:19:58,489 --> 00:20:00,950
And then I came back
from school one day

347
00:20:01,033 --> 00:20:02,785
and turned on the radio

348
00:20:02,868 --> 00:20:05,454
and I was disoriented
for a moment

349
00:20:05,538 --> 00:20:08,457
because I heard something
coming out of the radio

350
00:20:08,541 --> 00:20:11,711
that sounded like what I had
recorded the day before.

351
00:20:15,297 --> 00:20:18,259
And it was
a record made in France

352
00:20:18,342 --> 00:20:19,969
of musique concrete

353
00:20:20,052 --> 00:20:23,305
by Pierre Henry
and Pierre schaeffer.

354
00:20:25,725 --> 00:20:28,602
That was a revelation to me

355
00:20:28,686 --> 00:20:32,565
that there were people
in the world, French people,

356
00:20:32,648 --> 00:20:34,316
doing what I was doing

357
00:20:34,400 --> 00:20:36,694
and they were
making records of it.

358
00:20:40,781 --> 00:20:42,575
And so I suddenly saw
what I was doing

359
00:20:42,658 --> 00:20:45,703
had a broader application.

360
00:20:49,206 --> 00:20:53,878
I loved ingmar bergman films
at age 15

361
00:20:53,961 --> 00:20:55,796
and I loved kurosawa

362
00:20:57,298 --> 00:20:59,467
because the imprint
of the personality

363
00:20:59,550 --> 00:21:02,011
of these filmmakers
was very strong.

364
00:21:08,976 --> 00:21:13,022
In 1963, I went
to a university in Paris

365
00:21:13,105 --> 00:21:14,607
studying for a year

366
00:21:14,690 --> 00:21:16,984
right at the height
of the new wave.

367
00:21:17,067 --> 00:21:19,779
I saw Jean-Luc godard's
film breathless

368
00:21:19,862 --> 00:21:23,574
and I could tell
that rules were being broken.

369
00:21:23,657 --> 00:21:26,368
J“ pa-pa-pa-pa-pa, Patricia j“

370
00:21:26,452 --> 00:21:28,746
j“ Patricia j“

371
00:21:29,705 --> 00:21:32,458
And that got me excited.

372
00:21:32,541 --> 00:21:34,794
I got injected with the film bug

373
00:21:35,836 --> 00:21:37,630
and went to usc.

374
00:21:41,509 --> 00:21:43,177
I met Walter murch
in film school.

375
00:21:43,260 --> 00:21:45,930
He was a graduate student,
I was an undergrad.

376
00:21:46,013 --> 00:21:47,681
It was very easy
to make friends,

377
00:21:47,765 --> 00:21:50,100
and that was part of the fun
of being there.

378
00:21:50,184 --> 00:21:53,062
And it was only
when I got to film school

379
00:21:53,145 --> 00:21:57,691
that I realized that you have
to do to sound in film

380
00:21:57,775 --> 00:22:00,361
very kinds of things
that I was doing

381
00:22:00,444 --> 00:22:01,946
with these random sounds

382
00:22:02,029 --> 00:22:03,656
that I recorded
back in the early '505.

383
00:22:06,242 --> 00:22:08,786
Walter was coming up
with sound ideas

384
00:22:08,869 --> 00:22:10,287
and running tracks backwards.

385
00:22:12,498 --> 00:22:13,850
Basically,
that's all he was doing,

386
00:22:13,874 --> 00:22:15,000
was creating sound tracks.

387
00:22:16,335 --> 00:22:18,587
But it was an unusual time

388
00:22:18,671 --> 00:22:20,297
to go to film school

389
00:22:20,422 --> 00:22:23,717
because television
was killing film.

390
00:22:25,636 --> 00:22:28,973
President Kennedy
has been shot in Dallas, Texas.

391
00:22:29,056 --> 00:22:31,141
The '60s were a time
when we were focused

392
00:22:31,225 --> 00:22:33,435
on what we saw
on television and the news.

393
00:22:34,979 --> 00:22:36,105
I think it was

394
00:22:36,188 --> 00:22:39,483
the most powerful
civil rights protest.

395
00:22:43,112 --> 00:22:46,240
Full of unrest and politics.

396
00:22:46,323 --> 00:22:49,827
Hollywood's film
felt a little out of sync.

397
00:22:51,495 --> 00:22:54,623
I want to hear nothing more
about this troublemaker.

398
00:22:57,209 --> 00:22:58,769
It was actually rock and roll

399
00:22:58,794 --> 00:23:00,504
when musicians like the Beatles

400
00:23:00,588 --> 00:23:02,506
that were capturing
culture's imagination...

401
00:23:04,884 --> 00:23:06,176
More than film.

402
00:23:08,637 --> 00:23:12,099
And that year was
the absolute bottom

403
00:23:12,182 --> 00:23:15,561
of number of films
produced in Hollywood.

404
00:23:15,644 --> 00:23:18,856
The model on which
they had built their studios

405
00:23:18,939 --> 00:23:21,150
was not working anymore.

406
00:23:22,276 --> 00:23:24,111
There was not enough jobs.

407
00:23:27,448 --> 00:23:30,492
That was extended to us
young film students

408
00:23:30,576 --> 00:23:33,495
was a fellowship
by Warner brothers,

409
00:23:33,579 --> 00:23:34,747
which George won.

410
00:23:35,748 --> 00:23:38,709
And George met
the only other person on the lot

411
00:23:38,792 --> 00:23:41,086
who had a beard,
who was Francis coppola,

412
00:23:41,170 --> 00:23:43,672
who was directing
finian's rainbow.

413
00:23:43,756 --> 00:23:47,301
We had both been
film students, long hair.

414
00:23:47,384 --> 00:23:49,053
Everybody else on that crew
was over 50.

415
00:23:50,638 --> 00:23:52,681
So at the end
of finian's rainbow,

416
00:23:52,765 --> 00:23:56,101
Francis wanted to make a movie
on his own called rain people.

417
00:23:56,185 --> 00:23:58,062
And he said,
"do you know anybody

418
00:23:58,145 --> 00:24:00,272
who knows anything about sound?"

419
00:24:00,356 --> 00:24:01,899
And I said,
"oh, I got the perfect guy,

420
00:24:07,196 --> 00:24:08,948
Rain people is a road movie,

421
00:24:09,031 --> 00:24:10,866
much like easy rider.

422
00:24:10,950 --> 00:24:14,954
Our two guys in easy rider
were travelling west to east,

423
00:24:15,037 --> 00:24:18,165
the rain people
was traveling the other way.

424
00:24:19,208 --> 00:24:21,377
So we built this truck

425
00:24:21,460 --> 00:24:23,754
and just went across the country
making a movie.

426
00:24:25,589 --> 00:24:27,216
And it was the nagra,

427
00:24:27,299 --> 00:24:29,218
which a smaller,
lighter sound equipment

428
00:24:29,301 --> 00:24:31,136
that actually started
the ability

429
00:24:31,220 --> 00:24:32,888
to shoot movies on the street.

430
00:24:35,557 --> 00:24:39,395
If we can make a film
out of a shoe store in Nebraska,

431
00:24:39,478 --> 00:24:41,313
why do we have to be
in Hollywood?

432
00:24:42,648 --> 00:24:43,941
So we moved to San Francisco.

433
00:24:52,908 --> 00:24:56,412
Francis, George and me
were all in our late twenties

434
00:24:57,287 --> 00:25:00,290
and we formed American zoetrope.

435
00:25:01,542 --> 00:25:04,378
One of the dreams
or goals of zoetrope

436
00:25:04,461 --> 00:25:06,755
was to break down the barriers

437
00:25:06,839 --> 00:25:09,466
between picture editing
and sound editing

438
00:25:09,550 --> 00:25:11,677
and sound mixing.

439
00:25:13,971 --> 00:25:16,974
Then I could let
my musique concrete demon

440
00:25:17,057 --> 00:25:19,476
out of the bottle completely,

441
00:25:19,601 --> 00:25:22,479
which was a whole new direction.

442
00:25:24,606 --> 00:25:28,193
So immediately after finishing
the mix on rain people,

443
00:25:28,277 --> 00:25:29,903
George and I got together

444
00:25:29,987 --> 00:25:34,450
to write the screenplay
for thx 1138

445
00:25:34,533 --> 00:25:37,453
and we got financing
from Warner's.

446
00:25:37,536 --> 00:25:38,996
I would cut picture
during the day,

447
00:25:39,079 --> 00:25:40,581
and then Walter
would come in at night

448
00:25:40,664 --> 00:25:41,664
and cut the sound.

449
00:25:45,961 --> 00:25:48,881
I took it upon myself
to record every sound effect

450
00:25:48,964 --> 00:25:51,091
for the film myself.

451
00:25:54,803 --> 00:25:58,807
Thx had a very eerie,
strange soundtrack.

452
00:26:01,560 --> 00:26:03,937
And based
on the dismal performance

453
00:26:04,021 --> 00:26:05,814
of the film commercially,

454
00:26:05,898 --> 00:26:08,734
Warner brothers cancelled
the development advance

455
00:26:08,817 --> 00:26:10,736
that they had made to zoetrope.

456
00:26:11,820 --> 00:26:15,449
They claimed that this was
a personal loan to Francis

457
00:26:15,532 --> 00:26:18,535
and he owed them
all this money back.

458
00:26:18,660 --> 00:26:21,914
The equivalent today
would be three million.

459
00:26:21,997 --> 00:26:23,499
Bankrupted our company,

460
00:26:23,582 --> 00:26:25,582
made it so I couldn't work
in business for a while.

461
00:26:27,002 --> 00:26:28,837
It was the end of the road

462
00:26:28,921 --> 00:26:31,465
as far as zoetrope was
concerned.

463
00:26:32,966 --> 00:26:35,552
And in that state,

464
00:26:35,677 --> 00:26:40,766
Francis was offered to direct
this sleazy gangster film

465
00:26:40,849 --> 00:26:45,062
that 12 other directors
had turned down,

466
00:26:45,145 --> 00:26:46,522
which was the godfather.

467
00:26:49,817 --> 00:26:52,277
But he wanted to invest the film

468
00:26:52,361 --> 00:26:55,531
with the sensibility
of the European film and art

469
00:26:55,614 --> 00:26:57,699
that had influenced all of us.

470
00:26:58,909 --> 00:27:01,870
And he pulled all of us into it.

471
00:27:03,580 --> 00:27:05,415
When I was the kid growing up,

472
00:27:05,499 --> 00:27:07,960
one of the composers
who was doing

473
00:27:08,043 --> 00:27:12,923
the most advanced thinking
at the time was John cage.

474
00:27:14,258 --> 00:27:18,595
He was proselytizing
that everything is music.

475
00:27:21,098 --> 00:27:25,144
Even the sound that the audience
makes in the theater is music.

476
00:27:26,728 --> 00:27:28,605
And even the sound

477
00:27:28,730 --> 00:27:32,901
of the lid of the piano
going down is kind of music.

478
00:27:32,985 --> 00:27:35,445
He made us pay attention.

479
00:27:37,030 --> 00:27:38,699
So in the godfather,

480
00:27:38,782 --> 00:27:41,076
the moment leading up
to sollozzo death,

481
00:27:41,160 --> 00:27:45,414
it is accompanied by this
screechy John-cagey sound.

482
00:27:57,676 --> 00:27:59,011
What you're actually
listening to

483
00:27:59,094 --> 00:28:00,554
are Michael's neurons

484
00:28:00,637 --> 00:28:02,514
clashing against each other

485
00:28:02,598 --> 00:28:05,225
as he's making the decision
to actually kill these people.

486
00:28:07,060 --> 00:28:08,896
And the murder of a dream he had

487
00:28:08,979 --> 00:28:11,106
of having nothing to do
with the family.

488
00:28:15,694 --> 00:28:18,197
It's not technically music,

489
00:28:18,280 --> 00:28:21,575
but it conjures up emotion
and meaning.

490
00:28:24,703 --> 00:28:27,372
Obviously it became a big hit,

491
00:28:27,456 --> 00:28:30,667
and that bailed zoetrope out.

492
00:28:30,792 --> 00:28:33,754
We were able
to keep going after that.

493
00:28:38,425 --> 00:28:40,969
This one time I'll let you
ask me about my affairs.

494
00:28:41,053 --> 00:28:43,096
But the soundtrack
of the godfather,

495
00:28:43,180 --> 00:28:46,892
as it was released
in the theaters in 1972,

496
00:28:46,975 --> 00:28:49,519
was virtually identical
to the soundtrack

497
00:28:49,603 --> 00:28:52,231
of gone with the wind
released in 1939.

498
00:28:52,314 --> 00:28:54,358
You will promise, won't you?

499
00:28:54,441 --> 00:28:57,361
It's mono film
with just a single speaker

500
00:28:57,444 --> 00:28:59,238
behind the screen.

501
00:28:59,321 --> 00:29:01,782
Is that... is that all, Ashley?

502
00:29:01,865 --> 00:29:05,452
So sound in film
didn't really change.

503
00:29:05,535 --> 00:29:08,038
But contrast that
with the music industry,

504
00:29:08,121 --> 00:29:11,375
which was adopting
all of this new technology.

505
00:29:11,458 --> 00:29:13,126
Things like the lp,

506
00:29:13,210 --> 00:29:16,880
which by the late 1950s,
had stereo sound.

507
00:29:18,215 --> 00:29:21,343
Stereo spread the music
across two different speakers...

508
00:29:27,683 --> 00:29:29,017
Surrounding you

509
00:29:29,101 --> 00:29:31,812
and immersing you in the music.

510
00:29:31,895 --> 00:29:33,730
And the Beatles in particular

511
00:29:33,855 --> 00:29:36,984
were really testing
the boundaries of the medium.

512
00:29:37,067 --> 00:29:39,403
I remember
when I played revolver,

513
00:29:39,486 --> 00:29:41,029
it was a visceral feel,

514
00:29:41,113 --> 00:29:43,156
you could feel
the sound in your body.

515
00:29:43,240 --> 00:29:45,867
Turn off your mind, relax j“

516
00:29:45,951 --> 00:29:48,245
j' and float downstream j'

517
00:29:48,328 --> 00:29:50,872
In the song "revolution 9"...

518
00:29:50,956 --> 00:29:52,749
J' number nine, number nine j'

519
00:29:52,833 --> 00:29:55,669
George Martin
brought this ability

520
00:29:55,752 --> 00:29:58,547
to mix and create sound design

521
00:29:58,630 --> 00:30:00,424
that would then be melded
with rock and roll.

522
00:30:05,178 --> 00:30:07,472
"Revolution 9"
was fascinating to me

523
00:30:07,556 --> 00:30:09,725
because it was just
like musique concrete.

524
00:30:11,810 --> 00:30:16,356
As we come out of the... the
hippies '60s era of rock music,

525
00:30:16,440 --> 00:30:18,900
we brought that sensibility
to cinema and thought,

526
00:30:18,984 --> 00:30:21,111
"why can't movies be in stereo?“

527
00:30:23,780 --> 00:30:27,617
And it was
in that overheated environment

528
00:30:27,701 --> 00:30:30,871
that dolby came along
from the music industry

529
00:30:30,954 --> 00:30:34,499
in the mid '70s
and took the lid off.

530
00:30:34,583 --> 00:30:36,418
Providing stereo sound

531
00:30:36,501 --> 00:30:38,795
in more and more theaters.

532
00:30:38,920 --> 00:30:41,798
But I remember
a nameless film executive

533
00:30:41,882 --> 00:30:43,967
at one of the distributors
in Hollywood

534
00:30:44,051 --> 00:30:45,594
who actually hit his desk
and said,

535
00:30:45,677 --> 00:30:47,179
"god damn it," he said,

536
00:30:47,262 --> 00:30:49,097
"it's good stories
and comfortable seats,

537
00:30:49,181 --> 00:30:50,932
that's what sells movies,
not sound."

538
00:30:52,809 --> 00:30:55,562
But then in 1976
with a star is born,

539
00:30:55,645 --> 00:30:58,065
Barbra Streisand
had the imagination to say,

540
00:30:58,148 --> 00:31:01,485
"I want to do this stereo sound
with my film,"

541
00:31:01,568 --> 00:31:04,529
and just to tell the studio,
"we're gonna do it."

542
00:31:08,825 --> 00:31:15,499
With one more look at you j'

543
00:31:16,666 --> 00:31:19,795
that all-enveloping sound,

544
00:31:19,878 --> 00:31:22,756
and especially coming
from the audiences

545
00:31:22,839 --> 00:31:25,509
to involve you
as an audience member

546
00:31:25,592 --> 00:31:28,387
into the concert.

547
00:31:29,554 --> 00:31:35,268
J“ leave a troubled past
and I might start anew j'

548
00:31:35,352 --> 00:31:39,481
on a star is born,
Barbra Streisand insisted on,

549
00:31:39,564 --> 00:31:42,442
and in fact got
an extraordinary amount of time

550
00:31:42,526 --> 00:31:44,152
to do the sound edit
and sound mix.

551
00:31:47,656 --> 00:31:49,574
In fact, it was something

552
00:31:49,658 --> 00:31:52,035
on the order of magnitude
of four months,

553
00:31:52,119 --> 00:31:54,454
at a time when it was
more traditional

554
00:31:54,538 --> 00:31:55,997
to have seven weeks.

555
00:32:03,630 --> 00:32:08,051
The deal with first artist was
that the artist was responsible

556
00:32:08,135 --> 00:32:10,971
for anything
over six million dollars.

557
00:32:11,888 --> 00:32:14,975
I spent the six million dollars
on the movie.

558
00:32:16,435 --> 00:32:21,106
But then when I got into sound,
I spent another million dollars.

559
00:32:21,189 --> 00:32:25,318
J“ are you a figment
of my imagination? J“

560
00:32:25,402 --> 00:32:27,195
j' or I of yours j'

561
00:32:27,279 --> 00:32:30,490
when Warner brothers
saw the film,

562
00:32:30,574 --> 00:32:32,242
they liked it so much

563
00:32:32,325 --> 00:32:34,245
that they didn't make me pay
the million dollars.

564
00:32:34,286 --> 00:32:35,704
I thought it was wonderful.

565
00:32:35,787 --> 00:32:36,827
I was willing to spend it.

566
00:32:38,957 --> 00:32:42,252
There was a degree of reality
that you can get from stereo

567
00:32:42,335 --> 00:32:44,796
that's never possible
with a mono sound track.

568
00:32:44,880 --> 00:32:48,758
And bless Barbra Streisand
for recognizing the value.

569
00:32:54,222 --> 00:32:55,741
But it wasn't just the way

570
00:32:55,765 --> 00:32:57,350
films were played in theaters

571
00:32:57,434 --> 00:32:59,144
that was changing
during this time,

572
00:32:59,227 --> 00:33:01,938
it was the way
they were recorded too.

573
00:33:02,022 --> 00:33:06,359
I was a teenager in the '70s
and I saw the film Nashville.

574
00:33:10,322 --> 00:33:12,115
And I think that was probably

575
00:33:12,199 --> 00:33:13,909
the film that turned my ears

576
00:33:13,992 --> 00:33:17,787
on to what was possible
in a movie with sound.

577
00:33:19,414 --> 00:33:21,666
When they come into the airport,
I mean, that's a...

578
00:33:21,750 --> 00:33:23,877
Incredibly beautiful
piece of sound.

579
00:33:23,960 --> 00:33:25,605
Who do you think
you are? Marlon Brando?

580
00:33:25,629 --> 00:33:27,106
Barbara Jean,
ladies and gentlemen!

581
00:33:28,215 --> 00:33:30,217
There's airplanes
that come in and out

582
00:33:30,300 --> 00:33:31,885
and obliterate
what people are saying,

583
00:33:31,968 --> 00:33:33,321
there's a reporter
on a microphone,

584
00:33:33,345 --> 00:33:34,846
there's a marching band.

585
00:33:34,930 --> 00:33:36,806
And thank you,
Franklin high school band.

586
00:33:36,890 --> 00:33:39,309
I think you kids
get better every year.

587
00:33:42,687 --> 00:33:46,399
All right, twirlers,
let's twirl!

588
00:33:46,483 --> 00:33:48,735
You're woven
through that entire tapestry,

589
00:33:48,818 --> 00:33:50,178
and the sound
is what's pulling it,

590
00:33:50,237 --> 00:33:51,464
the sound is what's telling you

591
00:33:51,488 --> 00:33:52,656
where you're gonna go next.

592
00:33:52,739 --> 00:33:54,950
Jim webb obviously had worked

593
00:33:55,033 --> 00:33:58,411
with Robert Altman
on many of his films.

594
00:33:58,495 --> 00:34:00,372
He's the master of multi-track,

595
00:34:00,455 --> 00:34:03,667
just ahead of their time
and pushing the limits.

596
00:34:03,750 --> 00:34:06,670
Before that,
they recorded one track,

597
00:34:06,753 --> 00:34:09,589
but now we don't shoot
two tracks or three tracks.

598
00:34:09,673 --> 00:34:11,508
We've got eight,
ten, sixteen tracks.

599
00:34:11,591 --> 00:34:13,611
Other members
of the chamber of commerce,

600
00:34:13,635 --> 00:34:14,719
Barbara Jean reportedly...

601
00:34:14,803 --> 00:34:16,280
You know, everybody had a mic.

602
00:34:16,304 --> 00:34:18,024
No matter how many people
were in the scene,

603
00:34:18,056 --> 00:34:19,056
they all had microphones

604
00:34:19,099 --> 00:34:20,767
and they were all
on mic all the time.

605
00:34:20,850 --> 00:34:23,436
All the other
friends, members and...

606
00:34:24,771 --> 00:34:27,315
She's fallen.
Harold, come on! She's fallen!

607
00:34:27,399 --> 00:34:30,569
It was amazing how the story
was driven by the sound

608
00:34:30,652 --> 00:34:34,030
in a way that I don't think
had happened before then

609
00:34:34,155 --> 00:34:35,865
in American films.

610
00:34:37,075 --> 00:34:38,618
My generation, you know,

611
00:34:38,702 --> 00:34:40,579
Francis and George,
Marty and Brian

612
00:34:40,662 --> 00:34:43,039
and... and my whole group
that I sort of grew up with,

613
00:34:43,123 --> 00:34:45,333
very sound conscious generation.

614
00:34:47,127 --> 00:34:49,337
So between
the technological and creative

615
00:34:49,421 --> 00:34:52,591
advances of the early 19705,
sound was taking root

616
00:34:52,674 --> 00:34:55,302
in a new American renaissance
of movies

617
00:34:55,385 --> 00:34:57,025
in a way that had never
been heard before.

618
00:34:58,847 --> 00:35:00,765
Oh, I... I understand.

619
00:35:00,849 --> 00:35:02,809
But heading into the late '705,

620
00:35:02,892 --> 00:35:04,894
even bigger breakthroughs
were on the way.

621
00:35:07,564 --> 00:35:09,232
Most directors
spent a lot of time

622
00:35:09,316 --> 00:35:11,568
with their cameramen
and the actors.

623
00:35:11,651 --> 00:35:13,236
I just take
the same amount of time

624
00:35:13,320 --> 00:35:16,197
and spend it also
with the sound designer.

625
00:35:16,281 --> 00:35:17,866
But when I started my next film,

626
00:35:17,949 --> 00:35:20,160
Francis was doing
the conversation,

627
00:35:20,243 --> 00:35:22,037
and Walter was busy on that.

628
00:35:24,122 --> 00:35:26,416
So I called Ken miura
at the usc and said,

629
00:35:26,499 --> 00:35:28,376
"do you have anybody else
like Walter?"

630
00:35:28,460 --> 00:35:30,086
He said,
"yeah, I got somebody here.

631
00:35:39,220 --> 00:35:42,015
My mother tells me
that, as a toddler,

632
00:35:42,098 --> 00:35:46,394
I loved to act out to music,
that if she put a record on,

633
00:35:46,478 --> 00:35:48,772
that I would not only dance
around the room,

634
00:35:48,855 --> 00:35:51,024
but I would assume characters,
I'd be a cowboy

635
00:35:51,107 --> 00:35:55,570
or I'd be some kind
of pirate or something.

636
00:35:55,654 --> 00:35:57,197
But when I was
about six years old,

637
00:35:57,280 --> 00:35:59,616
I had a serious illness
and I was in bed

638
00:35:59,699 --> 00:36:01,701
for a few weeks and very weak.

639
00:36:02,661 --> 00:36:05,413
But my father had access
to a tape recorder

640
00:36:05,497 --> 00:36:07,040
and he brought that home.

641
00:36:08,375 --> 00:36:10,043
I began recording
television shows

642
00:36:10,126 --> 00:36:12,128
by putting a microphone
up to the TV

643
00:36:12,212 --> 00:36:14,047
and recording
the Saturday morning cartoons.

644
00:36:15,840 --> 00:36:17,676
There were
two television stations,

645
00:36:17,759 --> 00:36:21,596
and one of them had
the Warner brothers package

646
00:36:21,680 --> 00:36:24,057
of syndicated film.

647
00:36:24,140 --> 00:36:27,227
I loved recording errol Flynn
movies in particular.

648
00:36:33,483 --> 00:36:36,820
They ran
the cagney gangster movies

649
00:36:36,903 --> 00:36:39,030
and bogart films.

650
00:36:39,114 --> 00:36:41,866
So I got very familiar
with the sounds

651
00:36:41,950 --> 00:36:44,536
of Warner brothers
classic library.

652
00:36:45,662 --> 00:36:47,872
The other channel,
pretty much mgm.

653
00:36:48,957 --> 00:36:55,088
Somewhere over the rainbow j“

654
00:36:55,171 --> 00:36:57,924
j' singin' in the rain j'

655
00:36:58,007 --> 00:37:00,260
j“ just singin' in the rain j'

656
00:37:00,343 --> 00:37:02,103
As the other children
were developing

657
00:37:02,178 --> 00:37:04,013
the love for certain music,

658
00:37:04,097 --> 00:37:05,515
I was listening
to these explosions.

659
00:37:14,149 --> 00:37:16,401
So I began collecting
things I liked.

660
00:37:16,484 --> 00:37:19,654
I'd seek after a movie
just to record the battle scene

661
00:37:19,738 --> 00:37:21,698
and just listen to them.

662
00:37:24,325 --> 00:37:28,997
I think the thousands of hours
I spent doing that as a kid,

663
00:37:29,080 --> 00:37:32,125
unknown to me, that was
building up an inventory

664
00:37:32,208 --> 00:37:36,921
of how sound in movies
was part of the experience.

665
00:37:39,340 --> 00:37:42,218
I started making
my own little movies.

666
00:37:42,343 --> 00:37:45,555
And of course in those days
you couldn't record live sound

667
00:37:45,638 --> 00:37:47,515
while you're shooting
super hit films,

668
00:37:47,599 --> 00:37:51,186
but I could generate
a sound track after the fact

669
00:37:52,312 --> 00:37:55,440
by taking sound effects
I'd extracted from movies

670
00:37:55,523 --> 00:37:58,735
and television shows
and putting them in my movies.

671
00:38:07,869 --> 00:38:11,164
I first met Ben burtt
at usc film school.

672
00:38:11,247 --> 00:38:13,708
We kind of were kindred spirits.

673
00:38:13,792 --> 00:38:15,376
Whereas a lot of the students

674
00:38:15,460 --> 00:38:18,129
were into all the antonioni
and the arty films,

675
00:38:18,213 --> 00:38:22,717
we kind of like the traditional
Hollywood fun films and serials.

676
00:38:24,469 --> 00:38:26,763
Rod flash!

677
00:38:26,846 --> 00:38:28,598
So we wrote this movie

678
00:38:28,681 --> 00:38:31,184
called
rod flash conquers infinity.

679
00:38:31,267 --> 00:38:32,519
Ben and I dressed up

680
00:38:32,602 --> 00:38:34,479
in these knockoff
flash Gordon things

681
00:38:34,562 --> 00:38:38,024
that we got at an army
surplus store in Hollywood.

682
00:38:39,734 --> 00:38:41,152
We were making the voyage

683
00:38:41,236 --> 00:38:42,529
to the planet extraneous.

684
00:38:46,366 --> 00:38:48,535
We discovered a dinosaur,

685
00:38:48,618 --> 00:38:52,163
and of course we have
a pretty girl in, like, a cape.

686
00:38:56,084 --> 00:38:59,420
And Ben
did the sound on that one.

687
00:39:08,012 --> 00:39:11,766
So I was just finishing
at usc cinema,

688
00:39:11,850 --> 00:39:15,061
and Gary Kurtz, who had
represented George Lucas,

689
00:39:15,144 --> 00:39:16,938
came down to school

690
00:39:17,021 --> 00:39:18,898
looking for a student
interested in sound

691
00:39:18,982 --> 00:39:22,443
who they could mold
into their own ways.

692
00:39:22,527 --> 00:39:26,698
I went out to the studio
and met with the two of them.

693
00:39:26,781 --> 00:39:29,367
They outlined the film
they were gonna make.

694
00:39:30,577 --> 00:39:33,746
They had artwork on the walls
done by Ralph mcquarrie,

695
00:39:33,830 --> 00:39:35,915
concept art for the film.

696
00:39:35,999 --> 00:39:38,585
I was astounded by what I saw.

697
00:39:38,668 --> 00:39:40,545
This was a film
I always wanted to work on.

698
00:39:40,628 --> 00:39:43,339
This had spaceships and monsters

699
00:39:43,423 --> 00:39:46,509
and weapons like iightsabers.

700
00:39:46,593 --> 00:39:48,678
It was called star wars.

701
00:39:49,762 --> 00:39:52,765
So I leaped at the chance,
and the initial discussion was,

702
00:39:52,849 --> 00:39:56,144
“would you like to help
collect sounds for a wookiee?"

703
00:39:57,687 --> 00:40:02,108
This was still about a year
away from principal photography.

704
00:40:02,191 --> 00:40:04,360
I put Ben on in the beginning
because I...

705
00:40:04,444 --> 00:40:08,656
I knew I had to figure out a way
of making these characters real,

706
00:40:08,740 --> 00:40:13,620
and I knew it depended on how
we developed these languages.

707
00:40:13,703 --> 00:40:16,539
And that's what Ben spent
the better part of a year doing.

708
00:40:18,541 --> 00:40:20,919
We were trying
to find an animal that had

709
00:40:21,002 --> 00:40:23,713
enough vocal expressiveness
in its sounds

710
00:40:23,796 --> 00:40:26,090
that we could use it
for the wookiee.

711
00:40:27,550 --> 00:40:30,678
So there was
a young bear named pooh,

712
00:40:30,762 --> 00:40:34,349
and we spent an afternoon
with this bear in a pen

713
00:40:34,432 --> 00:40:37,602
coaxing it
to say different sounds.

714
00:40:37,685 --> 00:40:41,356
The way they got it to make
sound was to show it bread.

715
00:40:42,982 --> 00:40:43,982
The bear would...

716
00:40:48,613 --> 00:40:51,157
And then you give him the bread,
and then he'd be like...

717
00:40:55,370 --> 00:40:56,530
George wanted to know

718
00:40:56,579 --> 00:40:57,872
before they filmed the movie

719
00:40:57,956 --> 00:40:59,499
how would the wookiee sound.

720
00:40:59,582 --> 00:41:01,250
Well, you said it, Chewie.

721
00:41:01,334 --> 00:41:03,002
This is not the way

722
00:41:03,086 --> 00:41:06,214
that most filmmakers
worked at that time.

723
00:41:06,297 --> 00:41:08,841
I knew the sound
was part of the foundation

724
00:41:08,925 --> 00:41:11,427
of what the movie
was gonna to be.

725
00:41:11,511 --> 00:41:15,682
So everything had to have been
figured out way ahead of time.

726
00:41:15,765 --> 00:41:17,892
So I proceeded on to work my way

727
00:41:17,976 --> 00:41:19,936
through the screenplay
of star wars.

728
00:41:20,019 --> 00:41:21,499
I read through it
and made some notes,

729
00:41:21,562 --> 00:41:23,314
broke it down and I realized

730
00:41:23,398 --> 00:41:25,608
there were hundreds of things
in the script,

731
00:41:25,692 --> 00:41:27,318
from Darth Vader's breathing,

732
00:41:27,402 --> 00:41:30,154
you had the death star,
you had tie fighters

733
00:41:30,238 --> 00:41:33,408
and a whole library
of things in there.

734
00:41:33,491 --> 00:41:35,368
I said,
"well, do you want sounds

735
00:41:35,451 --> 00:41:38,955
for the rest of these things
as well?"

736
00:41:39,038 --> 00:41:40,758
The answer was,
"yeah, sure, just... just...

737
00:41:40,790 --> 00:41:42,041
Just spend some time."

738
00:41:43,084 --> 00:41:45,294
And so I operated
out of my apartment

739
00:41:45,378 --> 00:41:47,630
for many months coming up

740
00:41:47,714 --> 00:41:51,551
with expeditions
to go out and gather sound.

741
00:41:51,634 --> 00:41:53,302
While George,
he was off in england

742
00:41:53,386 --> 00:41:58,057
busy shooting the movie,
I was still based in la.

743
00:41:58,141 --> 00:42:01,352
He wanted me to go out
and record real motors

744
00:42:01,436 --> 00:42:05,189
and real airplanes
and real rusty doors,

745
00:42:05,273 --> 00:42:07,483
this hum of a projector,

746
00:42:07,567 --> 00:42:10,486
a buzzing sound
behind a television set.

747
00:42:10,611 --> 00:42:15,283
I tried to go into factories
and a scuba shop.

748
00:42:15,366 --> 00:42:17,869
I just started recording
everything I'd get my hands on

749
00:42:17,952 --> 00:42:20,997
and to populate the universe
of star wars

750
00:42:21,080 --> 00:42:26,294
with the sounds of things
that we would hear as real.

751
00:42:28,629 --> 00:42:30,465
We didn't wanna follow
the conventions

752
00:42:30,548 --> 00:42:32,925
of science fiction
that were current at the time,

753
00:42:33,009 --> 00:42:36,012
which was things
like forbidden planet

754
00:42:36,095 --> 00:42:39,182
or war of the worlds using
electronic music technology.

755
00:42:41,017 --> 00:42:43,686
We didn't use synthesizers
or anything like that.

756
00:42:43,770 --> 00:42:45,938
We used real sound effects.

757
00:42:48,941 --> 00:42:52,070
So a year or so
went by me collecting,

758
00:42:52,153 --> 00:42:55,281
and when they returned
from filming,

759
00:42:55,364 --> 00:42:58,409
I kind of got a note saying,
"we'll take the tapes

760
00:42:58,493 --> 00:43:02,163
and deliver them
to northern California."

761
00:43:02,246 --> 00:43:05,416
They were doing the picture
editing in George's house.

762
00:43:05,500 --> 00:43:08,628
So I started to cut
my sound effects

763
00:43:08,711 --> 00:43:11,923
into the editor's cuts
of the movie.

764
00:43:13,424 --> 00:43:16,302
But r2-d2 took a long time.

765
00:43:16,385 --> 00:43:19,222
There were many versions of that

766
00:43:19,305 --> 00:43:22,433
over months that were failures.

767
00:43:22,517 --> 00:43:24,352
You have to actually
make him talk

768
00:43:24,435 --> 00:43:26,604
and make you understand
what he's saying.

769
00:43:27,855 --> 00:43:29,649
And r2 had no mouth at all.

770
00:43:29,732 --> 00:43:31,332
What mission?
What are you talking about?

771
00:43:32,443 --> 00:43:35,822
We were very worried that it
would be incomprehensible.

772
00:43:37,865 --> 00:43:39,951
What eventually happened was,

773
00:43:40,034 --> 00:43:43,037
as George and I were talking
to each other, we would say,

774
00:43:43,121 --> 00:43:45,289
“well, r2 comes up
to this point in a movie

775
00:43:45,373 --> 00:43:46,373
and he kind of goes..."

776
00:43:50,002 --> 00:43:52,296
And suddenly
we realized we were talking

777
00:43:52,380 --> 00:43:54,841
with expressive sounds.

778
00:43:54,924 --> 00:43:57,135
They had
the intonation of meaning.

779
00:43:57,218 --> 00:43:59,971
We were verbalizing
a sound that worked for us.

780
00:44:02,640 --> 00:44:06,227
And that led down
the road of doing just that.

781
00:44:06,310 --> 00:44:08,437
I could do a vocalization

782
00:44:08,521 --> 00:44:11,065
and play something
on the keyboard.

783
00:44:13,818 --> 00:44:16,404
And you could sort of work
two things together.

784
00:44:18,531 --> 00:44:20,131
What mission?
What are you talking about?

785
00:44:22,702 --> 00:44:25,913
I've just
about had enough of you.

786
00:44:25,997 --> 00:44:28,624
Go that way. You'll be
malfunctioning within a day,

787
00:44:28,708 --> 00:44:30,126
you near-sighted scrap pile.

788
00:44:31,669 --> 00:44:33,254
We were not sure that audiences

789
00:44:33,337 --> 00:44:35,631
would comprehend this
at all, though.

790
00:44:35,715 --> 00:44:38,801
I was nervous,
as anybody would be.

791
00:44:38,885 --> 00:44:41,053
And I thought maybe
this was probably the end,

792
00:44:41,137 --> 00:44:43,181
I'd go back and become
a science teacher

793
00:44:43,264 --> 00:44:44,432
somewhere in the east.

794
00:44:44,515 --> 00:44:45,641
You gotta remember,

795
00:44:45,766 --> 00:44:47,602
my first film was a failure.

796
00:44:47,685 --> 00:44:49,896
I thought
the ultimate honor would be

797
00:44:49,979 --> 00:44:52,815
if we could be invited
to a Star Trek convention.

798
00:44:52,899 --> 00:44:54,275
I could sell t-shirts.

799
00:44:54,358 --> 00:44:56,068
Maybe we'd have
a card table there

800
00:44:56,152 --> 00:44:59,572
with, you know,
handout posters or something.

801
00:45:01,157 --> 00:45:03,784
That to me would have been
the peak of my career.

802
00:45:06,287 --> 00:45:07,872
When the film was finished,

803
00:45:07,955 --> 00:45:09,874
fox didn't really know
what they had.

804
00:45:09,957 --> 00:45:11,584
And I sat in a meeting

805
00:45:11,667 --> 00:45:13,753
with a fox executive
with Gary Kurtz,

806
00:45:13,836 --> 00:45:15,963
and the fox executive said,

807
00:45:16,047 --> 00:45:18,883
"we like your movie, Gary,
but we think it's a sleeper.

808
00:45:18,966 --> 00:45:21,052
We think it's gonna open
very slowly."

809
00:45:22,720 --> 00:45:26,307
I sat in the coronet theatre
in San Francisco

810
00:45:26,390 --> 00:45:28,851
for the opening show there,
the 70 mm print

811
00:45:28,935 --> 00:45:31,175
and I was sitting actually
in the middle of the audience.

812
00:45:31,229 --> 00:45:34,690
And this guy sitting next to me
as the plane comes overhead.

813
00:45:48,788 --> 00:45:53,125
And this guy goes, "holy shit!
Holy shit! Holy shit!"

814
00:45:54,252 --> 00:45:55,920
And two weeks later,
there were lines

815
00:45:56,003 --> 00:45:57,630
around the blocks
across the country

816
00:45:57,713 --> 00:46:00,967
waiting for star wars.

817
00:46:03,844 --> 00:46:07,098
The award goes
to Mr. Benjamin burtt Jr.

818
00:46:11,936 --> 00:46:13,980
Thank you very much.

819
00:46:14,063 --> 00:46:15,958
I'd like to of course
thank George Lucas,

820
00:46:15,982 --> 00:46:19,193
who had all the great ideas
and provided all the inspiration

821
00:46:19,277 --> 00:46:20,611
for the things in star wars.

822
00:46:20,695 --> 00:46:21,695
Thank you very much.

823
00:46:24,615 --> 00:46:26,409
He was the imaginative director

824
00:46:26,492 --> 00:46:28,035
who will say,

825
00:46:28,119 --> 00:46:30,705
"let's take the next step
in the sound story."

826
00:46:31,956 --> 00:46:33,833
George Lucas and Gary Kurtz,

827
00:46:33,916 --> 00:46:36,043
Barbra Streisand
on a star is born,

828
00:46:36,127 --> 00:46:38,754
Francis coppola,
Stanley kubrick,

829
00:46:38,838 --> 00:46:41,382
those are the key players
who will say,

830
00:46:41,465 --> 00:46:43,259
"yes, I'll do this."

831
00:46:45,678 --> 00:46:48,472
Star wars was a revolution.

832
00:46:50,266 --> 00:46:55,187
It was that soundtrack
that changed everything, 1977.

833
00:46:57,648 --> 00:46:59,150
In people's minds,

834
00:46:59,233 --> 00:47:02,695
there was a time
when sound was cool,

835
00:47:02,778 --> 00:47:07,158
and it created this era
driven by the filmmakers.

836
00:47:08,409 --> 00:47:10,202
At that time,
David lynch and Alan splet

837
00:47:10,286 --> 00:47:12,788
came out of af!
And were a partnership.

838
00:47:13,664 --> 00:47:17,418
These really great minds
were doing experimental things.

839
00:47:17,501 --> 00:47:20,588
I believe the source
of everyone's creativity

840
00:47:20,671 --> 00:47:21,881
comes from within.

841
00:47:25,718 --> 00:47:28,554
And Alan,
he was a born sound man.

842
00:47:33,100 --> 00:47:34,810
Very interested in music,

843
00:47:34,894 --> 00:47:37,021
especially classical music.

844
00:47:43,486 --> 00:47:48,157
And he was
a joyous experimenter.

845
00:47:51,994 --> 00:47:53,913
The trick for the human being

846
00:47:53,996 --> 00:47:57,166
is experiencing
this deepest level of life.

847
00:47:59,126 --> 00:48:03,130
The unbounded infinite ocean
of consciousness

848
00:48:03,214 --> 00:48:05,591
at the base
of all matter and mind

849
00:48:06,967 --> 00:48:10,429
where sounds play a huge role

850
00:48:10,513 --> 00:48:12,640
in the abstract cinema.

851
00:48:15,976 --> 00:48:18,854
You wanna bring people
into a world

852
00:48:18,979 --> 00:48:21,148
and give them an experience.

853
00:48:22,108 --> 00:48:25,611
And you could get lost
in there for years.

854
00:48:33,619 --> 00:48:36,414
So it was in the air,
breaking the mold

855
00:48:36,497 --> 00:48:38,874
and trying things
that seemed crazy

856
00:48:38,999 --> 00:48:40,793
and seeing if they worked.

857
00:48:40,876 --> 00:48:44,422
The '70s was a really good time
of filmmaking.

858
00:48:46,298 --> 00:48:48,467
And there was no more
experimental or chaotic film

859
00:48:48,551 --> 00:48:51,137
in all of history
that so changed the way

860
00:48:51,220 --> 00:48:53,764
film sound
was done and presented

861
00:48:53,848 --> 00:48:55,891
as apocalypse now.

862
00:49:08,571 --> 00:49:10,448
During the shooting
of apocalypse now,

863
00:49:10,531 --> 00:49:12,658
Francis heard
a record by tomita,

864
00:49:12,741 --> 00:49:18,122
which was the planets
by Gustav holst in four-track.

865
00:49:19,165 --> 00:49:21,125
The idea was
that you put speakers

866
00:49:21,208 --> 00:49:24,128
at each corner of your room,
and you sat in the center

867
00:49:24,211 --> 00:49:26,088
and you were surrounded
by the music.

868
00:49:29,884 --> 00:49:31,635
Francis heard it and thought,

869
00:49:31,719 --> 00:49:33,239
"this is how I want
the film to sound."

870
00:49:34,430 --> 00:49:36,640
But all of us
working on the sound,

871
00:49:36,724 --> 00:49:39,810
Richard beggs,
Mark berger and myself,

872
00:49:39,894 --> 00:49:41,520
we'd only worked in mono,

873
00:49:41,604 --> 00:49:43,481
none of us had even worked
on a stereo film

874
00:49:43,564 --> 00:49:47,359
let alone this whole
new six-track surround format.

875
00:49:50,446 --> 00:49:53,449
We were exploring the unknown

876
00:49:53,532 --> 00:49:56,785
going into this whole
new continent

877
00:49:56,869 --> 00:50:01,123
where we move objects all
the way around the theater...

878
00:50:03,626 --> 00:50:05,961
Which had never
been done before.

879
00:50:11,967 --> 00:50:15,054
If you're breaking new ground,

880
00:50:15,137 --> 00:50:17,765
then people who are interested
in new ground come

881
00:50:17,848 --> 00:50:19,558
because they wanna
participate in it

882
00:50:19,642 --> 00:50:22,269
and more ground gets broken.

883
00:50:23,354 --> 00:50:25,290
I spent about half
of my time on apocalypse

884
00:50:25,314 --> 00:50:26,899
in the mix sitting there

885
00:50:26,982 --> 00:50:29,777
watching Walter murch
and Mark berger

886
00:50:29,860 --> 00:50:31,737
and Richard beggs and Francis

887
00:50:31,820 --> 00:50:34,740
figure out what this movie
was going to sound like.

888
00:50:35,658 --> 00:50:39,453
Working on apocalypse now
was my film school.

889
00:50:40,746 --> 00:50:42,623
Ultimately, we wound up spending

890
00:50:42,706 --> 00:50:44,667
a year-and-a-half
editing the sound

891
00:50:44,750 --> 00:50:47,294
and nine months doing the mix,

892
00:50:47,378 --> 00:50:49,505
which is just unheard of.

893
00:50:49,588 --> 00:50:52,091
Just about everything
that could possibly go right

894
00:50:52,174 --> 00:50:54,009
or go wrong did.

895
00:50:54,134 --> 00:50:55,719
The whole apocalypse now
expefience

896
00:50:55,803 --> 00:50:57,012
was like dropping acid.

897
00:50:59,306 --> 00:51:05,229
J“ this is the end,
beautiful friend j'

898
00:51:05,312 --> 00:51:07,272
What you have
at the beginning of the film

899
00:51:07,314 --> 00:51:11,026
is captain Willard
in his Saigon hotel room

900
00:51:11,151 --> 00:51:15,281
hallucinating, regretting
what he's done in the war.

901
00:51:18,492 --> 00:51:21,120
Everything that you see and hear

902
00:51:21,203 --> 00:51:24,039
is being filtered
through his consciousness.

903
00:51:27,376 --> 00:51:33,966
J“ waiting
for the summer rain, yeah j'

904
00:51:36,635 --> 00:51:40,514
And that decision
is what allowed Walter

905
00:51:40,598 --> 00:51:42,766
to do what he did
with the sound...

906
00:51:47,396 --> 00:51:49,648
To tell the story
more from the point of view

907
00:51:49,732 --> 00:51:53,861
of this character in this
crazy situation in Vietnam.

908
00:51:53,944 --> 00:51:55,487
Saigon.

909
00:51:59,116 --> 00:52:01,577
And it frames the whole movie.

910
00:52:09,627 --> 00:52:12,630
The most interesting sound
is designed into the script

911
00:52:12,713 --> 00:52:14,632
and is designed into the scenes.

912
00:52:19,094 --> 00:52:21,013
And so I wrote out a script

913
00:52:21,096 --> 00:52:25,476
for the sound treatment
of the film to guide the mix.

914
00:52:31,523 --> 00:52:34,526
Walter decided
that it was more efficient

915
00:52:34,610 --> 00:52:38,906
if each editor be responsible
for one whole layer of sound.

916
00:52:39,823 --> 00:52:43,118
So that the helicopters
were edited by one editor

917
00:52:43,243 --> 00:52:46,705
and the background voices
were edited by another editor.

918
00:52:46,789 --> 00:52:49,917
Les hodgson
was in charge of atmospheres.

919
00:52:50,000 --> 00:52:52,961
Les wiggins
was in charge of munitions.

920
00:52:53,045 --> 00:52:56,131
Patjackson
was in charge of the boat.

921
00:52:56,215 --> 00:52:57,800
So that there was a consistency.

922
00:52:59,510 --> 00:53:02,137
To treat
each sound editor as the head

923
00:53:02,262 --> 00:53:05,432
of an instrument grouping
in an orchestra.

924
00:53:05,516 --> 00:53:07,309
You are the lead violin.

925
00:53:07,393 --> 00:53:08,673
You are a head of the woodwinds.

926
00:53:08,727 --> 00:53:10,938
You are head of percussion.

927
00:53:11,021 --> 00:53:12,523
You're head of the brasses.

928
00:53:24,284 --> 00:53:27,371
And as chef is dying,

929
00:53:28,539 --> 00:53:30,958
had Jackson change
the pitch of the boat

930
00:53:31,041 --> 00:53:35,129
so that the boat sound
is going down.

931
00:53:45,139 --> 00:53:48,100
I think the biggest lesson
I learned from apocalypse now,

932
00:53:48,183 --> 00:53:50,644
sitting there, was figuring out
from moment to moment

933
00:53:50,728 --> 00:53:53,689
what sounds to use
and what sounds not to use.

934
00:53:53,772 --> 00:53:56,734
Those kinds of decisions
are the essence of film.

935
00:54:02,698 --> 00:54:05,617
And the exhibitors,
they're gonna play the picture

936
00:54:05,701 --> 00:54:10,247
on our terms, with our sound,
the way we want them to show it.

937
00:54:11,623 --> 00:54:13,208
The film did run

938
00:54:13,292 --> 00:54:16,170
in this six-track
surround format.

939
00:54:16,253 --> 00:54:20,174
And as things have evolved
over the next 30, 40 years,

940
00:54:20,257 --> 00:54:23,385
that format is now
the ground standard

941
00:54:23,469 --> 00:54:24,762
of how you mix a film.

942
00:54:26,597 --> 00:54:30,225
The soundtrack is at least
as important as the film

943
00:54:30,350 --> 00:54:32,770
and the director
of the soundtrack,

944
00:54:32,853 --> 00:54:35,898
of the entire movie
is Walter murch.

945
00:54:37,232 --> 00:54:38,484
Cheers!

946
00:54:38,567 --> 00:54:39,669
In a way, Walter murch

947
00:54:39,693 --> 00:54:41,945
is the father of us all

948
00:54:42,029 --> 00:54:45,991
in this modern era
of film sound.

949
00:54:48,410 --> 00:54:50,412
Apocalypse now
marked the culmination

950
00:54:50,496 --> 00:54:52,539
of over 50 years
of film sound development.

951
00:54:53,457 --> 00:54:56,168
And its repercussions
can still be felt today.

952
00:54:57,544 --> 00:54:59,254
But the next big challenge
for sound

953
00:54:59,338 --> 00:55:03,217
was how to work
in the crazy new digital world.

954
00:55:08,972 --> 00:55:10,724
I always thought that animation

955
00:55:10,808 --> 00:55:13,018
was such a visual medium.

956
00:55:13,101 --> 00:55:16,772
But when I started putting
just the right sound effects,

957
00:55:16,855 --> 00:55:19,441
it just made it
a thousand times better.

958
00:55:22,486 --> 00:55:26,448
February of 1986,
we formed pixar.

959
00:55:28,200 --> 00:55:31,286
And I'd been working
on animating these desk lamps.

960
00:55:31,370 --> 00:55:34,414
So I made this little one
and a half minute short film

961
00:55:34,498 --> 00:55:36,583
called luxo Jr.

962
00:55:36,667 --> 00:55:39,336
And of course we wanted
Ben burtt to do the sound.

963
00:55:40,879 --> 00:55:42,714
But they told us he was busy.

964
00:55:43,590 --> 00:55:45,592
And they said,
"but there's this young guy

965
00:55:45,676 --> 00:55:48,846
that's been working with Ben,
he's really, really good.

966
00:55:48,929 --> 00:55:52,599
Let's give this new guy a try.
His name's Gary rydstrom."

967
00:55:55,227 --> 00:55:56,854
But I wanted Ben burtt.

968
00:56:01,984 --> 00:56:03,485
I think all
of my early opportunities

969
00:56:03,569 --> 00:56:05,195
were shows that people
wanted Ben burtt.

970
00:56:05,279 --> 00:56:06,714
I mean, it's how it works
in the world, right?

971
00:56:06,738 --> 00:56:07,938
"We'd like Ben burtt, please."

972
00:56:07,990 --> 00:56:09,590
"He's not available."
"Who else you got?"

973
00:56:10,701 --> 00:56:12,661
Now, luxo Jr. was definitely

974
00:56:12,744 --> 00:56:15,414
a huge step forward
for animation,

975
00:56:15,497 --> 00:56:17,749
and they had
a very real look to him.

976
00:56:17,833 --> 00:56:20,627
And Gary kept looking
at it going,

977
00:56:20,711 --> 00:56:24,047
"I wanna ground this
in reality."

978
00:56:24,131 --> 00:56:25,841
I had this digital workstation

979
00:56:25,924 --> 00:56:27,843
called the synclavier

980
00:56:27,926 --> 00:56:30,512
where I could take real sounds,
load them into the computer

981
00:56:30,596 --> 00:56:32,848
and manipulate them
on the keyboard,

982
00:56:32,931 --> 00:56:36,602
like scraping metal,
the screwing in of light bulbs,

983
00:56:36,685 --> 00:56:40,105
harsh boring sounds,
the Springs.

984
00:56:40,188 --> 00:56:41,416
You record sounds you don't know

985
00:56:41,440 --> 00:56:43,942
what they're going to be for
but they're interesting.

986
00:56:44,026 --> 00:56:46,278
And later on
you'll find little tidbits

987
00:56:46,361 --> 00:56:50,198
that have a little vocal quality
as sad or happy.

988
00:56:51,575 --> 00:56:54,202
And next thing
you know, he brought me down

989
00:56:54,286 --> 00:56:57,289
and he showed me
a first pass of luxo Jr.

990
00:56:58,665 --> 00:57:01,209
And the characters came alive.

991
00:57:05,589 --> 00:57:08,800
He crafted their voices

992
00:57:08,884 --> 00:57:11,386
and he gave them weight.

993
00:57:15,766 --> 00:57:17,392
Gary got it.

994
00:57:17,517 --> 00:57:19,770
He took the medium
of computer animation

995
00:57:19,853 --> 00:57:21,563
to new heights.

996
00:57:21,647 --> 00:57:23,815
And pretty much
everything pixar did,

997
00:57:23,899 --> 00:57:26,234
Gary did the sound for it.

998
00:57:26,318 --> 00:57:27,736
I thought, "this is cool,

999
00:57:27,819 --> 00:57:29,613
I'm part of something
really big here."

1000
00:57:29,696 --> 00:57:31,615
George Lucas and Ben burtt,

1001
00:57:31,698 --> 00:57:33,283
Francis coppola
and Walter murch,

1002
00:57:34,284 --> 00:57:36,620
David lynch and Alan splet.

1003
00:57:36,703 --> 00:57:40,165
Great directors connected
at the hip to a sound person.

1004
00:57:41,541 --> 00:57:44,086
One of mine was
with John lasseter,

1005
00:57:44,169 --> 00:57:46,296
and another one was
with Steven Spielberg.

1006
00:57:46,380 --> 00:57:47,380
Action!

1007
00:57:47,422 --> 00:57:50,759
Welcome to Jurassic park.

1008
00:57:55,097 --> 00:57:57,975
We're gonna make a fortune
with this place.

1009
00:57:58,058 --> 00:58:00,060
I think Gary rydstrom's
greatest contribution

1010
00:58:00,143 --> 00:58:03,981
Jurassic park was presuming
hat dinosaurs sounded like,

1011
00:58:04,982 --> 00:58:08,819
to make them extraordinary,
but also natural.

1012
00:58:20,455 --> 00:58:23,125
And the first time
I ever heard the t-Rex,

1013
00:58:23,208 --> 00:58:24,793
I did literally
fall off my chair.

1014
00:58:26,128 --> 00:58:27,546
Talk about innovative.

1015
00:58:27,629 --> 00:58:29,297
It was just unbelievable a sound

1016
00:58:29,381 --> 00:58:30,757
that he did on Jurassic park.

1017
00:58:32,050 --> 00:58:33,885
So we just asked him
to do sound for us

1018
00:58:33,969 --> 00:58:36,430
on the first
computer animated feature film.

1019
00:58:36,513 --> 00:58:38,724
You've got a friend in me j'

1020
00:58:38,807 --> 00:58:41,935
I just appreciated
how Gary was making sure

1021
00:58:42,019 --> 00:58:43,311
that the sounds he used

1022
00:58:43,395 --> 00:58:46,940
supported
the emotional intention

1023
00:58:47,024 --> 00:58:50,610
of the narrative
of whatever was going on.

1024
00:58:50,694 --> 00:58:53,321
- Say, what's that button do?
- I'll show you.

1025
00:58:54,406 --> 00:58:55,675
Buzz lightyear to the rescue!

1026
00:58:55,699 --> 00:58:56,700
Whoa!

1027
00:58:56,783 --> 00:58:58,243
Woody's got something like that.

1028
00:58:58,326 --> 00:59:00,078
His is a pull string.

1029
00:59:00,162 --> 00:59:01,642
We wanted to have one thing

1030
00:59:01,705 --> 00:59:05,417
that both Woody and buzz had

1031
00:59:05,500 --> 00:59:08,712
that you could tell Woody's
was older and cheesier

1032
00:59:08,795 --> 00:59:10,672
and buzz's was new
and high tech.

1033
00:59:10,756 --> 00:59:13,467
And that was a sound system.

1034
00:59:13,550 --> 00:59:16,428
I had an old Casper doll.

1035
00:59:16,511 --> 00:59:22,100
There's a record in there
that he is, um... come on.

1036
00:59:23,435 --> 00:59:24,728
See, that's like, "I love you."

1037
00:59:27,022 --> 00:59:28,690
He's sounding awesome
these days.

1038
00:59:28,774 --> 00:59:30,275
Oop, come on, Casper.

1039
00:59:31,693 --> 00:59:35,405
Reach for the sky!

1040
00:59:35,489 --> 00:59:37,991
Gary loved that idea.

1041
00:59:39,117 --> 00:59:41,411
We were innovating
with computers so much

1042
00:59:41,495 --> 00:59:44,956
and creating new tools
for animation

1043
00:59:45,040 --> 00:59:46,875
and, therefore,
he was at the same time

1044
00:59:46,958 --> 00:59:49,628
kind of really using computers
for the first time

1045
00:59:49,711 --> 00:59:53,423
in really clever ways
to do sound design.

1046
00:59:53,507 --> 00:59:55,050
You know,
it's mind-blowing to think

1047
00:59:55,133 --> 00:59:56,635
that just, I don't know,

1048
00:59:56,718 --> 00:59:59,012
even many people
around the industry

1049
00:59:59,096 --> 01:00:02,349
were still cutting sound
at that time on mag.

1050
01:00:03,642 --> 01:00:05,894
Up until the early 1990s,

1051
01:00:05,977 --> 01:00:08,313
we were cutting one track
of sound at a time

1052
01:00:08,396 --> 01:00:10,315
on mag film.

1053
01:00:10,398 --> 01:00:13,944
But by the mid-1990s,
sound editing migrated

1054
01:00:14,027 --> 01:00:16,321
to computer systems
like pro tools.

1055
01:00:16,404 --> 01:00:19,407
Now we could see
the waveforms we were editing,

1056
01:00:19,491 --> 01:00:22,452
but more importantly,
sound editors could finally hear

1057
01:00:22,536 --> 01:00:24,579
how all their tracks
played together.

1058
01:00:29,960 --> 01:00:31,336
It was a very exciting time

1059
01:00:31,419 --> 01:00:32,879
for all people
in visual and sound.

1060
01:00:36,758 --> 01:00:38,218
So all of a sudden,
I get this call.

1061
01:00:39,386 --> 01:00:41,221
The wachowskis said,

1062
01:00:41,304 --> 01:00:43,431
"remember that really
great script called the matrix

1063
01:00:43,515 --> 01:00:45,355
that we used to talk about
on the mixing stage?

1064
01:00:45,392 --> 01:00:46,476
It's green lit."

1065
01:00:53,316 --> 01:00:55,402
And the fact that the movie

1066
01:00:55,485 --> 01:01:00,115
was about this digital reality
that was coming through wire,

1067
01:01:00,198 --> 01:01:02,075
I thought there was
some parallel

1068
01:01:02,159 --> 01:01:04,995
to trying to do
all of the sound design

1069
01:01:05,078 --> 01:01:07,330
in the digital world.

1070
01:01:07,414 --> 01:01:09,174
And it was a chance
to apply this technology.

1071
01:01:09,207 --> 01:01:10,876
It was still sketchy,

1072
01:01:10,959 --> 01:01:12,627
but allowed
for all these possibilities.

1073
01:01:16,590 --> 01:01:18,842
Like one of the first
sounds that I developed

1074
01:01:18,925 --> 01:01:22,387
was the sound of Neo perceiving
himself being digitized.

1075
01:01:24,181 --> 01:01:26,057
Did you?

1076
01:01:27,350 --> 01:01:30,228
In the digital world
everything is zeros and ones,

1077
01:01:30,312 --> 01:01:32,022
just little boxes, basically.

1078
01:01:32,105 --> 01:01:34,357
I wanted to get that feeling
across to the audience,

1079
01:01:34,441 --> 01:01:36,193
the jaggedness.

1080
01:01:43,033 --> 01:01:44,910
Computers did allow to do

1081
01:01:44,993 --> 01:01:48,663
some very fun creative work
on the matrix.

1082
01:01:48,747 --> 01:01:51,666
It would not
have been time otherwise.

1083
01:01:51,750 --> 01:01:54,294
And I've always had a
love-hate thing with technology.

1084
01:01:54,377 --> 01:01:56,213
Computers suck.

1085
01:01:56,296 --> 01:01:58,316
You know, part of me just wants
to live in the woods,

1086
01:01:58,340 --> 01:02:00,383
you know, and...
And carve sticks.

1087
01:02:00,467 --> 01:02:02,135
I have seen the future.
This is it.

1088
01:02:02,219 --> 01:02:04,346
It definitely does not work.

1089
01:02:04,429 --> 01:02:07,432
But another part of me just
loves all these fancy tools.

1090
01:02:10,143 --> 01:02:12,604
These days there's so many tools

1091
01:02:12,687 --> 01:02:16,650
to manipulate a sound
that now pretty much in sound,

1092
01:02:16,733 --> 01:02:18,318
if you can think it,
you can do it.

1093
01:02:27,869 --> 01:02:30,622
But ultimately,
it wasn't about the technology,

1094
01:02:30,705 --> 01:02:34,042
it's the contribution
of dozens of sound people,

1095
01:02:34,125 --> 01:02:35,961
a circle of talent
who collaborate

1096
01:02:36,044 --> 01:02:39,422
behind the scenes
to help tell the story.

1097
01:02:39,506 --> 01:02:42,092
And a human voice, you know,

1098
01:02:42,175 --> 01:02:45,136
it's the great position
of the individual.

1099
01:02:45,220 --> 01:02:47,722
You can have
all sorts of nuances,

1100
01:02:47,806 --> 01:02:49,557
and that's unique.

1101
01:02:49,641 --> 01:02:52,060
If you listen real close,

1102
01:02:52,143 --> 01:02:55,188
you can hear them whisper
their legacy to you,

1103
01:02:55,272 --> 01:02:58,149
"carpe diem.

1104
01:02:58,233 --> 01:03:02,445
Seize the day, boys."

1105
01:03:02,529 --> 01:03:04,531
When you're recording
production sound,

1106
01:03:04,614 --> 01:03:06,814
what you're really trying
to capture is the performance.

1107
01:03:07,742 --> 01:03:09,995
You have my permission to die.

1108
01:03:10,078 --> 01:03:13,164
People's voice is
a really complex instrument.

1109
01:03:13,248 --> 01:03:15,125
With a boom microphone, you're

1110
01:03:15,208 --> 01:03:18,837
about maybe ten inches away
from a person's mouth.

1111
01:03:18,920 --> 01:03:22,007
It's an enormous sense
of intimacy that you get.

1112
01:03:22,882 --> 01:03:24,634
I remember on funny girl,

1113
01:03:24,718 --> 01:03:27,429
we filmed it
to a pre-recorded track.

1114
01:03:27,512 --> 01:03:31,391
J' for whatever my man is j“

1115
01:03:31,474 --> 01:03:33,768
j'iamhisj'

1116
01:03:33,852 --> 01:03:36,104
Willie leans towards me and he
says, "what do you think?"

1117
01:03:36,187 --> 01:03:38,148
And I said,
"it could be better."

1118
01:03:39,107 --> 01:03:42,319
Because I believe
in working in the moment.

1119
01:03:42,402 --> 01:03:44,779
I have to do it live.

1120
01:03:44,904 --> 01:03:46,781
And he said okay.

1121
01:03:46,906 --> 01:03:50,368
So they put a boom like this
because it had to be close up.

1122
01:03:50,452 --> 01:03:54,789
When I know I'll come back j”

1123
01:03:54,873 --> 01:03:59,377
j' on my knees someday j'

1124
01:03:59,461 --> 01:04:02,380
j' for whatever my man is j“

1125
01:04:02,464 --> 01:04:04,466
j'iamhisj'

1126
01:04:04,549 --> 01:04:10,388
j' forever more j'

1127
01:04:10,472 --> 01:04:13,183
and I thought, "yeah,
that's the kind of feeling

1128
01:04:13,266 --> 01:04:15,685
I'd like to get into my man."

1129
01:04:17,812 --> 01:04:21,274
As a director,
I can hear the truth

1130
01:04:21,358 --> 01:04:26,321
when an actor
is indicating something or...

1131
01:04:26,404 --> 01:04:28,198
Feeling it.

1132
01:04:28,281 --> 01:04:30,784
- What are you, a demon?
- I'm not. You know me.

1133
01:04:30,867 --> 01:04:33,161
- You spit on the torah!
- I love the torah!

1134
01:04:33,244 --> 01:04:35,330
You spit on it,
you spit on everything

1135
01:04:35,413 --> 01:04:37,415
and everyone and nature itself!

1136
01:04:37,499 --> 01:04:40,585
In god's face, in my face,
and hadass's face!

1137
01:04:41,711 --> 01:04:44,714
As a production sound mixer,
one film that I'm very proud of

1138
01:04:44,798 --> 01:04:47,467
is a film
that Patty Jenkins directed.

1139
01:04:47,550 --> 01:04:49,260
It was called monster.

1140
01:04:49,344 --> 01:04:52,972
It was about the serial killer
Aileen Wuornos.

1141
01:04:53,056 --> 01:04:54,516
You don't have to do this.

1142
01:04:54,599 --> 01:04:56,309
- Get down.
- You don't.

1143
01:04:56,393 --> 01:04:59,229
We captured every little breath.

1144
01:04:59,312 --> 01:05:03,775
Oh, god, my wife.

1145
01:05:03,858 --> 01:05:06,277
My wife.

1146
01:05:06,361 --> 01:05:07,737
My daughter is having a baby.

1147
01:05:09,447 --> 01:05:11,950
Oh, god. Oh, god, I'm sorry.

1148
01:05:12,033 --> 01:05:15,120
That was one of those moments
where literally the hair

1149
01:05:15,203 --> 01:05:18,623
stood on the back of your neck
at the end of the performance.

1150
01:05:20,125 --> 01:05:21,793
It's just all those things

1151
01:05:21,876 --> 01:05:23,962
that you battle
as I sound mixer.

1152
01:05:24,045 --> 01:05:26,548
You're dealing with wind.
That is never our friend.

1153
01:05:28,967 --> 01:05:32,762
And there's many, many things
that are required for things

1154
01:05:32,846 --> 01:05:36,015
to look right on camera
that are noisy.

1155
01:05:40,103 --> 01:05:42,814
I know ships that sail
into the triangle do not...

1156
01:05:42,897 --> 01:05:45,692
Guilty of putting me
in this dreadful pickle.

1157
01:05:45,775 --> 01:05:49,112
If you're hearing those,
that takes you out of the story.

1158
01:05:51,448 --> 01:05:53,783
That's why we edit the dialogue.

1159
01:05:58,413 --> 01:06:01,374
My mom is Kay Rose,
and she was the first woman

1160
01:06:01,458 --> 01:06:03,460
to win an Oscar for sound.

1161
01:06:04,586 --> 01:06:07,922
She could hear clicks and pops
that shouldn't be there,

1162
01:06:08,006 --> 01:06:10,758
take it out,
fill it with ambience

1163
01:06:10,842 --> 01:06:13,761
and be very smooth.

1164
01:06:14,804 --> 01:06:17,932
Ordinary people was a movie
my mom and I worked on,

1165
01:06:18,057 --> 01:06:20,435
and it was one
of the hardest sound jobs

1166
01:06:20,518 --> 01:06:21,811
we'd ever, ever done.

1167
01:06:23,062 --> 01:06:24,772
The movie is about a family

1168
01:06:24,856 --> 01:06:28,943
affected by the death
of their older son.

1169
01:06:29,068 --> 01:06:31,946
The surviving son
goes to a psychiatrist.

1170
01:06:32,071 --> 01:06:34,532
Ah, hi, yeah, come in.
It's okay, they all do that.

1171
01:06:34,616 --> 01:06:36,951
And they chose
an aluminum warehouse

1172
01:06:37,035 --> 01:06:40,413
near an airport
for these very intimate scenes

1173
01:06:40,497 --> 01:06:42,499
with the psychiatrist...

1174
01:06:42,582 --> 01:06:44,417
Sit.

1175
01:06:48,588 --> 01:06:50,757
Which was awful.

1176
01:06:52,467 --> 01:06:54,636
I had a fairly strong idea
aboutsound,

1177
01:06:54,719 --> 01:06:56,679
but I had not
directed a film before.

1178
01:06:56,763 --> 01:06:57,972
So I needed help,

1179
01:06:58,056 --> 01:07:00,642
and she did just a great job.

1180
01:07:00,725 --> 01:07:02,995
It took weeks to try
to get out the little clicks

1181
01:07:03,019 --> 01:07:04,395
and pops and planes.

1182
01:07:04,479 --> 01:07:05,813
Boating accident...

1183
01:07:05,897 --> 01:07:09,067
For ten minutes
of production dialogue, weeks.

1184
01:07:09,150 --> 01:07:10,777
You wanna tell me about it?

1185
01:07:13,905 --> 01:07:16,491
The silence
was meant to illustrate pain,

1186
01:07:18,535 --> 01:07:19,953
the disconnect between people.

1187
01:07:20,036 --> 01:07:22,247
You can go upstairs
to that room of yours

1188
01:07:22,330 --> 01:07:25,083
and clean out the closet.

1189
01:07:25,166 --> 01:07:27,085
Because it really is a mess.

1190
01:07:31,756 --> 01:07:33,508
The dialogue department.

1191
01:07:33,591 --> 01:07:36,010
We're the queens
of the soundtrack.

1192
01:07:36,135 --> 01:07:39,138
Jake, my Jake.

1193
01:07:39,222 --> 01:07:41,140
Everything
falls apart without it.

1194
01:07:41,224 --> 01:07:44,811
It's the thing that everything
has to work around.

1195
01:07:44,894 --> 01:07:47,939
And you don't wanna lose
a moment in a film saying

1196
01:07:48,022 --> 01:07:50,483
to, you know, your friend,
you know, "what did he say?"

1197
01:07:52,110 --> 01:07:56,239
That's why sometimes
we need to shoot adr.

1198
01:08:01,536 --> 01:08:03,204
Adr stands for...

1199
01:08:03,288 --> 01:08:04,455
Lillian!

1200
01:08:04,539 --> 01:08:07,166
Automated dialogue replacement.

1201
01:08:08,543 --> 01:08:09,794
It's dialogue

1202
01:08:09,877 --> 01:08:12,130
that's rerecorded
in a sound studio.

1203
01:08:13,006 --> 01:08:14,048
Good.

1204
01:08:14,132 --> 01:08:15,508
You pick out some lines

1205
01:08:15,592 --> 01:08:18,052
that might
be really low to hear,

1206
01:08:18,136 --> 01:08:21,264
the actors have to come in,
re-record

1207
01:08:21,347 --> 01:08:23,975
and then we as editors
have to cut it

1208
01:08:24,058 --> 01:08:27,061
to try to match
those people's mouths.

1209
01:08:29,063 --> 01:08:30,815
So Beth bergeron hired me

1210
01:08:30,898 --> 01:08:32,859
on a league of their own.

1211
01:08:32,942 --> 01:08:36,321
One of the scenes that I cut
was when Tom Hanks is yelling.

1212
01:08:36,404 --> 01:08:38,489
There's no crying in baseball!

1213
01:08:39,866 --> 01:08:41,743
Her crying on the set

1214
01:08:41,826 --> 01:08:44,662
was actually
really kind of soft.

1215
01:08:44,746 --> 01:08:46,664
Are you crying? Are you crying?

1216
01:08:47,749 --> 01:08:50,960
And so, in order
to get her crying again,

1217
01:08:51,044 --> 01:08:52,629
you had to get Tom Hanks
as well.

1218
01:08:52,712 --> 01:08:54,255
Hey, hey, hey, hey, hey.

1219
01:08:54,339 --> 01:08:56,215
Because they're overlapping
each other.

1220
01:08:56,299 --> 01:08:58,068
All right, listen, listen,
listen, listen, listen.

1221
01:08:58,092 --> 01:09:00,970
Rogers hornsby was my manager

1222
01:09:01,054 --> 01:09:03,181
and he called me a talking pile
of pig shit.

1223
01:09:03,264 --> 01:09:04,575
So that way, when they mix,

1224
01:09:04,599 --> 01:09:05,879
they can then bring up
her crying

1225
01:09:05,933 --> 01:09:07,101
when they need to.

1226
01:09:07,226 --> 01:09:09,270
- Did I cry?
- No. No.

1227
01:09:09,354 --> 01:09:11,731
No, because there is
no crying in baseball.

1228
01:09:11,814 --> 01:09:13,691
I loved working on that film.

1229
01:09:18,154 --> 01:09:22,408
But ourjob is also
to add the background people,

1230
01:09:22,492 --> 01:09:24,911
and that's what we call
group adr.

1231
01:09:34,545 --> 01:09:36,339
Most people might not realize

1232
01:09:36,422 --> 01:09:38,341
that that whole opening of argo,

1233
01:09:38,424 --> 01:09:40,968
the assumption is, "oh,
that's all recorded on set."

1234
01:09:42,178 --> 01:09:44,847
But the truth is
all of that's reconstructed.

1235
01:09:46,432 --> 01:09:50,103
We had over a hundred
Farsi speaking crews and extras.

1236
01:09:52,689 --> 01:09:56,484
We were making the crowd
right in the middle of it,

1237
01:09:56,567 --> 01:10:00,571
from behind windows,
from the rooftops.

1238
01:10:03,116 --> 01:10:06,285
After a few hours of this,
everyone was, like, hugging

1239
01:10:06,369 --> 01:10:07,954
and a few people were crying

1240
01:10:08,037 --> 01:10:11,332
and we found out
that some of our voice talent

1241
01:10:11,416 --> 01:10:13,501
had actually lived
through the revolution.

1242
01:10:18,798 --> 01:10:21,300
And all of that emotion
that we were recording,

1243
01:10:21,384 --> 01:10:24,804
it became part of the DNA
of the scene.

1244
01:10:40,486 --> 01:10:43,030
When people ask me
about working on Selma,

1245
01:10:43,114 --> 01:10:45,491
I tell them it's
the... the first film

1246
01:10:45,575 --> 01:10:48,202
that I've worked on
that really meant something.

1247
01:10:51,789 --> 01:10:54,041
When they're on the bridge,

1248
01:10:54,125 --> 01:10:57,754
they're running for their lives
so they don't get killed.

1249
01:10:57,837 --> 01:11:02,675
You want the audience
to feel the pain.

1250
01:11:10,725 --> 01:11:12,852
When I had people
running by the mics,

1251
01:11:12,935 --> 01:11:14,645
it's more real
because it's got movement,

1252
01:11:14,729 --> 01:11:16,731
it's got cloth movement,
it's got feet,

1253
01:11:16,814 --> 01:11:18,065
they're turning their heads,

1254
01:11:18,149 --> 01:11:20,234
and they're doing efforts,

1255
01:11:20,359 --> 01:11:21,944
and so it just sounds more real.

1256
01:11:22,028 --> 01:11:23,613
Stop it!

1257
01:11:23,696 --> 01:11:27,533
It was so important to me
to work on this film.

1258
01:11:28,534 --> 01:11:32,038
It allows me to relive

1259
01:11:32,121 --> 01:11:34,874
some of the things
as I was a child

1260
01:11:34,957 --> 01:11:38,920
that speaks
to what people went through,

1261
01:11:39,003 --> 01:11:41,506
what we're still
going through today.

1262
01:11:44,050 --> 01:11:47,011
I'm just really proud
that I was able to work on it.

1263
01:11:55,728 --> 01:11:57,772
But surrounding
the voices in the movie

1264
01:11:57,855 --> 01:11:59,565
is a whole world
of sound effects

1265
01:11:59,649 --> 01:12:02,360
created and cut
by the sound editors,

1266
01:12:02,443 --> 01:12:06,739
and it consists
of three distinct parts.

1267
01:12:06,823 --> 01:12:12,245
Highway to the danger zone j'

1268
01:12:12,328 --> 01:12:14,288
I got hired to do top gun

1269
01:12:14,372 --> 01:12:16,958
with George waters.

1270
01:12:17,041 --> 01:12:21,295
So I spent a week in San Diego
recording jets with John fasal.

1271
01:12:25,716 --> 01:12:29,053
But the jets themselves
are not that interesting.

1272
01:12:30,346 --> 01:12:33,516
They sounded kind of wimpy.

1273
01:12:36,477 --> 01:12:43,067
So it created a library
of mostly exotic animal roars.

1274
01:12:43,150 --> 01:12:47,446
Lions and tiger roars
and monkey screeches.

1275
01:12:55,913 --> 01:12:59,125
And that
wound up being the thing.

1276
01:13:01,335 --> 01:13:03,963
It gave them
a cutting sharp feeling.

1277
01:13:12,597 --> 01:13:15,224
And it's the single
most labor-intensive

1278
01:13:15,308 --> 01:13:17,476
editing process
I've ever experienced.

1279
01:13:19,353 --> 01:13:21,230
It took forever,

1280
01:13:21,314 --> 01:13:24,150
which the studio
was very frightened by

1281
01:13:24,233 --> 01:13:25,985
and didn't understand.

1282
01:13:26,068 --> 01:13:29,030
So at one point
in the middle of this process,

1283
01:13:29,113 --> 01:13:31,657
there was an executor
from the studio.

1284
01:13:31,741 --> 01:13:34,744
He came over to fire me

1285
01:13:34,827 --> 01:13:36,245
and he said,

1286
01:13:36,329 --> 01:13:38,789
"this movie
isn't about the sound."

1287
01:13:40,124 --> 01:13:43,002
But months later,
we were nominated

1288
01:13:43,085 --> 01:13:46,172
for an academy award.

1289
01:13:46,255 --> 01:13:49,467
And I will say
that he sent me flowers,

1290
01:13:49,550 --> 01:13:50,927
and the note said,

1291
01:13:51,010 --> 01:13:52,803
"I guess
it was about the sound."

1292
01:13:54,472 --> 01:13:56,307
She's also
a civilian contractor,

1293
01:13:56,390 --> 01:13:58,976
so you do not salute her,
but you'd better listen to her.

1294
01:13:59,060 --> 01:14:01,020
People who say, well, you know,

1295
01:14:01,103 --> 01:14:05,316
it's a big action war movie,
a guy should do the sound.

1296
01:14:05,399 --> 01:14:08,027
I was like, "why?
Has he been in a war?"

1297
01:14:11,614 --> 01:14:13,074
This idea of one gender

1298
01:14:13,157 --> 01:14:15,284
being better at it than another,

1299
01:14:15,368 --> 01:14:17,036
I think it's kind of silly.

1300
01:14:18,537 --> 01:14:20,665
It's experience.

1301
01:14:21,791 --> 01:14:23,191
You're sitting in front

1302
01:14:23,250 --> 01:14:24,490
of this big piece of equipment,

1303
01:14:24,543 --> 01:14:26,504
and it looks
very complicated and technical.

1304
01:14:26,587 --> 01:14:28,589
And it's sort of that thing
like you peek your head

1305
01:14:28,673 --> 01:14:30,633
into the cockpit,
and there's all that equipment,

1306
01:14:30,716 --> 01:14:32,301
ooh, you wind up
with some big guy

1307
01:14:32,385 --> 01:14:34,225
who looks like he was
in the air force in there

1308
01:14:34,261 --> 01:14:35,680
'cause, you know,

1309
01:14:35,763 --> 01:14:37,223
if anything goes wrong,
that person

1310
01:14:37,306 --> 01:14:40,351
will get a screwdriver,
I don't know.

1311
01:14:40,434 --> 01:14:42,186
Because the job consists of,

1312
01:14:42,269 --> 01:14:44,647
you know, pushing little buttons
and turning little knobs

1313
01:14:44,730 --> 01:14:47,566
and that's not particularly
a macho endeavor at all.

1314
01:14:51,237 --> 01:14:53,557
But if you don't see anybody
like yourself doing something,

1315
01:14:53,614 --> 01:14:56,784
then that doesn't seem
like a place you could fit in.

1316
01:15:06,585 --> 01:15:09,380
Foley is a subset
of sound effects.

1317
01:15:14,802 --> 01:15:17,054
We're called foley artists.

1318
01:15:17,138 --> 01:15:20,349
And truly what we do
is custom sound effects.

1319
01:15:23,185 --> 01:15:25,312
We're really like performers.

1320
01:15:27,523 --> 01:15:29,567
Getting into their mindset...

1321
01:15:34,530 --> 01:15:37,033
We really give them character.

1322
01:15:49,086 --> 01:15:51,881
It's that detail that
you don't really think about

1323
01:15:51,964 --> 01:15:53,632
that makes it come alive.

1324
01:15:57,762 --> 01:15:59,180
There's a very famous story

1325
01:15:59,263 --> 01:16:01,098
where Jack foley heard

1326
01:16:01,182 --> 01:16:03,267
the director of Spartacus
bemoaning the fact

1327
01:16:03,350 --> 01:16:05,269
that the armor they were wearing

1328
01:16:05,352 --> 01:16:06,479
sounded like tin pots.

1329
01:16:11,692 --> 01:16:13,503
They're saying,
"we have to go back over

1330
01:16:13,527 --> 01:16:16,405
and reshoot the picture
at a huge cost.

1331
01:16:16,489 --> 01:16:18,157
Jack said, "wait a second."

1332
01:16:18,240 --> 01:16:20,701
He runs out to his car,
he grabs some props,

1333
01:16:20,785 --> 01:16:22,745
some big set of keys,
etc., etc.,

1334
01:16:22,828 --> 01:16:25,664
comes in and works his magic.

1335
01:16:35,382 --> 01:16:36,801
Which is kind of fun,

1336
01:16:36,884 --> 01:16:39,004
'cause that's what foley
really is for us, it's magic.

1337
01:16:47,269 --> 01:16:51,482
And the last subset
of sound effects are ambiences.

1338
01:16:51,565 --> 01:16:53,234
Atmospheric beds of sounds

1339
01:16:53,317 --> 01:16:56,237
that editors lay
underneath everything else.

1340
01:17:00,783 --> 01:17:02,023
I think that any film

1341
01:17:02,076 --> 01:17:03,953
like lost in translation,

1342
01:17:04,036 --> 01:17:05,913
building the...
The world and the atmosphere,

1343
01:17:05,996 --> 01:17:07,706
the sound
is such a big part of it

1344
01:17:07,790 --> 01:17:10,167
that you don't realize
until you're working on it.

1345
01:17:14,213 --> 01:17:15,941
Picking up
all those little details

1346
01:17:15,965 --> 01:17:17,341
and adding these layers
that makes,

1347
01:17:17,424 --> 01:17:19,104
I think, you feel
like you're really there.

1348
01:17:25,057 --> 01:17:28,853
There's this whole
other world that it brings.

1349
01:17:28,936 --> 01:17:31,564
That's really half the movie.

1350
01:17:31,647 --> 01:17:34,942
It's a bed of sound
and the scene

1351
01:17:35,025 --> 01:17:38,195
that sets you
in that environment.

1352
01:17:41,282 --> 01:17:42,467
A bed of crickets.

1353
01:17:44,493 --> 01:17:46,245
The sound of a room.

1354
01:17:51,333 --> 01:17:52,585
Or birds.

1355
01:17:55,212 --> 01:17:57,131
It has to be evocative.

1356
01:18:01,302 --> 01:18:02,529
When I was 11 years old,

1357
01:18:02,553 --> 01:18:04,555
I had a mild case of polio.

1358
01:18:04,638 --> 01:18:07,099
So as a reward
for getting better,

1359
01:18:07,183 --> 01:18:10,352
my mom drove me
to yosemite national park.

1360
01:18:10,436 --> 01:18:12,316
Once I went through that tunnel
and it opened up

1361
01:18:12,396 --> 01:18:13,856
and I saw half dome
and El capitan,

1362
01:18:13,939 --> 01:18:15,659
I said, "well, this is...
This is it for me.

1363
01:18:16,317 --> 01:18:18,736
I don't wanna look at this,
I wanna be in it.“

1364
01:18:23,782 --> 01:18:26,327
The sound of those falls

1365
01:18:26,410 --> 01:18:28,495
rushing past me as I climbed up.

1366
01:18:29,747 --> 01:18:32,791
The power of water.

1367
01:18:34,210 --> 01:18:36,170
I'd like to use that in film.

1368
01:18:37,671 --> 01:18:39,882
I was working
on a river runs through it,

1369
01:18:39,965 --> 01:18:41,926
and the sound designer
just said,

1370
01:18:42,009 --> 01:18:44,094
"look, I just need you
to go out and record sounds."

1371
01:18:46,805 --> 01:18:49,892
I knew every stream
within a hundred miles.

1372
01:18:51,977 --> 01:18:54,313
When I heard it back
in the film,

1373
01:18:54,396 --> 01:18:56,398
I could feel the moisture
of the stream

1374
01:18:56,482 --> 01:19:00,402
and I could hear the presence
of this volume of air.

1375
01:19:03,155 --> 01:19:05,658
That hit me so heavily.

1376
01:19:07,076 --> 01:19:08,994
I thought to myself,

1377
01:19:09,078 --> 01:19:11,330
"this is me
with my father fishing

1378
01:19:11,413 --> 01:19:13,165
as an eight-year-old boy."

1379
01:19:15,084 --> 01:19:19,004
It brings me to a really...

1380
01:19:19,088 --> 01:19:21,757
Peaceful, important time
in my life.

1381
01:19:24,718 --> 01:19:28,180
Everything has emotion
and, therefore, spirit.

1382
01:19:30,224 --> 01:19:33,060
Ang really wanted the wind

1383
01:19:33,143 --> 01:19:35,062
to have its own character
in this movie.

1384
01:19:40,901 --> 01:19:42,736
Wind sound was very expressive

1385
01:19:42,820 --> 01:19:44,154
for their characters.

1386
01:19:47,825 --> 01:19:50,703
How much they're quiet
about their feelings...

1387
01:19:53,372 --> 01:19:56,208
How much repression they endure.

1388
01:20:06,927 --> 01:20:10,180
That's the art of sound,

1389
01:20:10,264 --> 01:20:13,892
that ability
to interpret expressively

1390
01:20:13,976 --> 01:20:15,561
things that are happening.

1391
01:20:17,271 --> 01:20:19,273
And the final
element of the soundtrack

1392
01:20:19,356 --> 01:20:20,983
is music.

1393
01:20:21,066 --> 01:20:23,235
It has a direct connection
to emotion.

1394
01:20:30,409 --> 01:20:31,952
The great thing about music is

1395
01:20:33,037 --> 01:20:36,123
it's there
that you as an audience

1396
01:20:36,206 --> 01:20:39,460
can connect on a human level.

1397
01:20:41,170 --> 01:20:44,048
It has a way of inviting you in.

1398
01:20:46,216 --> 01:20:47,551
The way in which
he records them,

1399
01:20:47,634 --> 01:20:49,178
the way in which
they're executed

1400
01:20:49,261 --> 01:20:54,808
is extremely lavish
and epic really.

1401
01:21:03,400 --> 01:21:05,903
I love that hans doesn't give up

1402
01:21:05,986 --> 01:21:08,280
and he just keeps trying
to make it better

1403
01:21:08,364 --> 01:21:10,199
and better
and better and better.

1404
01:21:10,282 --> 01:21:11,075
He's obsessed.

1405
01:21:11,158 --> 01:21:12,158
Look who is here.

1406
01:21:13,535 --> 01:21:15,496
I think the heart
has to come first

1407
01:21:15,579 --> 01:21:17,706
and then the intellect
will follow.

1408
01:21:19,708 --> 01:21:22,169
- Hey, guys, hey.
- Daddy!

1409
01:21:22,252 --> 01:21:23,688
- How are you?
- Daddy!

1410
01:21:23,712 --> 01:21:25,756
How are you?

1411
01:21:28,092 --> 01:21:32,304
Your job is to come up
with the unimaginable for them.

1412
01:21:41,438 --> 01:21:43,583
You think about
people's favorite movie moments,

1413
01:21:43,607 --> 01:21:45,609
and it's usually
the score element.

1414
01:21:48,362 --> 01:21:50,656
Black panther was set in Africa,

1415
01:21:50,739 --> 01:21:53,117
and music is so important
setting that up.

1416
01:21:57,287 --> 01:21:58,956
Is the first person I called.

1417
01:21:59,039 --> 01:22:01,208
When I write music
for any of his projects,

1418
01:22:01,291 --> 01:22:04,837
I'm always pushing myself
to another kind of level.

1419
01:22:04,920 --> 01:22:06,880
Music is what ties
the whole thing together.

1420
01:22:10,926 --> 01:22:13,804
Experimenting
in contemporary music.

1421
01:22:17,015 --> 01:22:19,309
But also not being
scared to bring in

1422
01:22:19,393 --> 01:22:21,103
the classic,
really heroic theme.

1423
01:22:29,319 --> 01:22:31,029
And how do we tie that together

1424
01:22:31,113 --> 01:22:33,157
in one consistent
piece of music.

1425
01:22:34,366 --> 01:22:35,826
We're gonna write something new,

1426
01:22:35,909 --> 01:22:38,162
we're gonna create
something completely different.

1427
01:22:38,245 --> 01:22:40,831
And then we watched it, it was
like, man, this is perfect.

1428
01:22:54,970 --> 01:22:56,930
In a song,
I can do in three minutes

1429
01:22:57,014 --> 01:22:59,766
what a really great movie
needs hours to do.

1430
01:23:02,603 --> 01:23:04,480
It's the collaborative effort

1431
01:23:04,563 --> 01:23:06,899
of all those people...

1432
01:23:09,276 --> 01:23:12,654
That make that soundtrack
what it is.

1433
01:23:13,864 --> 01:23:16,658
And the very last step
is to provide that

1434
01:23:16,742 --> 01:23:20,037
to the sound mixing stage.

1435
01:23:22,706 --> 01:23:24,374
Re-recording mixing is

1436
01:23:24,458 --> 01:23:26,168
a key component of film sound.

1437
01:23:27,586 --> 01:23:30,297
You take all the elements
from the sound editors

1438
01:23:30,380 --> 01:23:31,882
and you finally
bring them together

1439
01:23:31,965 --> 01:23:33,634
like a conductor would.

1440
01:23:37,262 --> 01:23:40,182
You may turn up the
music to enhance the emotion.

1441
01:23:50,526 --> 01:23:52,319
You may turn up
the sound effects

1442
01:23:52,402 --> 01:23:53,612
to add a visceral punch.

1443
01:24:02,204 --> 01:24:04,206
Or you may turn them both down

1444
01:24:04,289 --> 01:24:06,792
to focus on a line of dialogue.

1445
01:24:06,875 --> 01:24:08,085
I'm glad it's you.

1446
01:24:15,425 --> 01:24:17,094
Mixing also involves thinking

1447
01:24:17,177 --> 01:24:19,471
about where sounds
are placed on the screen

1448
01:24:19,555 --> 01:24:21,515
and how they move.

1449
01:24:21,598 --> 01:24:25,811
We use this panning technique
everywhere in roma.

1450
01:24:25,894 --> 01:24:28,730
Like, what components could go
from that side to that side.

1451
01:24:28,814 --> 01:24:30,524
Left, center, right.

1452
01:24:33,819 --> 01:24:35,946
Have the voices move that way

1453
01:24:36,029 --> 01:24:38,365
when the camera pans that way.

1454
01:24:43,579 --> 01:24:45,747
Alfonso was constantly
trying to get us

1455
01:24:45,831 --> 01:24:47,332
to keep things moving.

1456
01:24:51,169 --> 01:24:52,671
Roma is filled with a lot

1457
01:24:52,754 --> 01:24:54,798
of foreground,
background sounds.

1458
01:24:54,881 --> 01:24:57,676
The film is very oral,
there's a lot of...

1459
01:24:57,759 --> 01:24:59,970
There are a lot of sounds
going on.

1460
01:25:01,263 --> 01:25:04,891
The dance between the elements
is what I consider cinematic.

1461
01:25:17,487 --> 01:25:19,448
This is what the core
of mixing is,

1462
01:25:19,531 --> 01:25:24,953
is taking all these components,
creating a place for them all.

1463
01:25:27,372 --> 01:25:31,084
So it's just really
building the track slowly,

1464
01:25:31,209 --> 01:25:33,587
having everything
play harmoniously.

1465
01:25:38,592 --> 01:25:40,177
At one point you go,

1466
01:25:40,260 --> 01:25:43,263
"okay, we got a movie.
Sounds like a movie."

1467
01:25:55,901 --> 01:25:57,694
And when you feel
those goosebumps,

1468
01:25:57,778 --> 01:25:58,820
then you've done it right.

1469
01:26:03,450 --> 01:26:06,119
The circle of talent

1470
01:26:06,203 --> 01:26:09,039
is a collaborative group
of people

1471
01:26:09,122 --> 01:26:12,250
that spend hours and hours
and days and days

1472
01:26:12,334 --> 01:26:15,212
in the trenches
that are doing all the work.

1473
01:26:16,505 --> 01:26:18,674
And if people have to try
and find meaning

1474
01:26:18,757 --> 01:26:20,300
in what they do,

1475
01:26:20,384 --> 01:26:23,095
it's the group of people
that you're working with.

1476
01:26:24,763 --> 01:26:29,434
But it's easy
to lose sight of that.

1477
01:26:29,518 --> 01:26:32,938
Because I had public success
so quickly in my career.

1478
01:26:34,147 --> 01:26:35,427
We come to work every day

1479
01:26:35,482 --> 01:26:37,042
thinking you're an
Oscar-winning genius.

1480
01:26:37,109 --> 01:26:38,360
Thank you very much.

1481
01:26:39,653 --> 01:26:42,698
But you can't put that kind
of pressure on yourself

1482
01:26:42,781 --> 01:26:46,702
that each time you do something
it's gonna shake the world.

1483
01:26:47,703 --> 01:26:50,414
And it led
to a nervous breakdown.

1484
01:26:50,497 --> 01:26:52,857
And finally came one day where
I just couldn't work anymore.

1485
01:26:52,916 --> 01:26:54,334
I was just sitting
at the console

1486
01:26:54,418 --> 01:26:56,837
crying to myself
I didn't know why.

1487
01:26:56,920 --> 01:26:59,131
It was because I invested
too much in it.

1488
01:27:02,884 --> 01:27:04,278
To be honest,
one of the main things

1489
01:27:04,302 --> 01:27:05,929
I would always try to do

1490
01:27:06,012 --> 01:27:08,181
is get home
for dinner with my family.

1491
01:27:09,975 --> 01:27:11,977
And I have to appreciate
my wife Peggy

1492
01:27:12,060 --> 01:27:13,979
and all the years
she's dragged me

1493
01:27:14,062 --> 01:27:17,023
back out of my world
of make-believe.

1494
01:27:18,567 --> 01:27:21,194
Don't lose your foot.

1495
01:27:21,278 --> 01:27:23,488
Plant it in something outside.

1496
01:27:25,031 --> 01:27:26,825
Those are good things.

1497
01:27:30,036 --> 01:27:32,038
You kind of get to the point
where you realize

1498
01:27:32,122 --> 01:27:34,166
that you wanna be happy
doing the work you're doing,

1499
01:27:34,249 --> 01:27:38,378
that the... the pleasure is on
what happens on a daily basis.

1500
01:27:38,462 --> 01:27:41,173
We come in on any given Tuesday

1501
01:27:41,256 --> 01:27:44,050
and you're working
with making pass-bys

1502
01:27:44,134 --> 01:27:46,094
out of bicycle rattling.

1503
01:27:47,679 --> 01:27:51,600
If you can enjoy that
and see that

1504
01:27:51,683 --> 01:27:54,227
for what it is,
for a daily task,

1505
01:27:54,352 --> 01:27:56,229
then that's
where the pleasure will lie.

1506
01:27:59,775 --> 01:28:02,068
I love what I do.

1507
01:28:02,152 --> 01:28:05,781
It's very tedious,
it's very time-consuming,

1508
01:28:05,864 --> 01:28:08,074
but when I can play
something back

1509
01:28:08,158 --> 01:28:11,119
and I can feel it,
I was like, “oh, man."

1510
01:28:11,203 --> 01:28:13,663
You know, it's just...
It's like really satisfying.

1511
01:28:15,373 --> 01:28:16,653
I just couldn't believe

1512
01:28:16,708 --> 01:28:18,502
I was getting paid real money

1513
01:28:18,585 --> 01:28:19,628
to have so much fun.

1514
01:28:21,296 --> 01:28:22,482
I always say, you know,

1515
01:28:22,506 --> 01:28:23,786
I would hate to have a real job.

1516
01:28:25,133 --> 01:28:27,219
Pinch myself every day.

1517
01:28:30,222 --> 01:28:32,015
Even in my early sound career

1518
01:28:32,098 --> 01:28:35,101
I remember
how magical it felt to me.

1519
01:28:36,853 --> 01:28:40,690
Movies were a place to have
emotion that was safe.

1520
01:28:40,774 --> 01:28:43,235
Of all the ways, all the things
I can do in movies

1521
01:28:43,318 --> 01:28:45,862
or have done in movies,
sound is still the best way

1522
01:28:45,946 --> 01:28:48,865
to experience emotion
working on a movie, to me.

1523
01:28:50,408 --> 01:28:52,953
So the creation
of the sound film

1524
01:28:53,036 --> 01:28:55,121
made sound an art form.

1525
01:29:00,335 --> 01:29:03,046
It's been very valuable
in the evolution

1526
01:29:03,129 --> 01:29:07,926
of human's relationship
to the cosmos.

1527
01:29:09,469 --> 01:29:12,848
The work you all do make
massive contributions

1528
01:29:12,931 --> 01:29:14,599
to the telling of the story.

1529
01:29:16,142 --> 01:29:17,853
And I love all your cleverness

1530
01:29:17,936 --> 01:29:21,606
andingenufly
and I love the sense of fun.

1531
01:29:24,651 --> 01:29:26,945
And it makes
these moments eternal.

1532
01:29:30,407 --> 01:29:32,701
You know how to whistle,
don't you, Steve?

1533
01:29:35,829 --> 01:29:36,829
Come on, then!

1534
01:29:54,848 --> 01:30:00,020
I'll be right here.

1535
01:30:01,062 --> 01:30:03,023
Run, forrest, run!

1536
01:30:06,067 --> 01:30:08,153
Hold on!