This post will summarise the sound elements I’ve been planning for this film. These are the topics:
- Film sound Analysis: Structure, Definition of Concepts & References
- ADR & Foley: sound List & Notes
- Sound Design: by character
- Music: Ideas & References
- Extra: Post prod. Planning – time schedules, workflows & other considerations
This breakdown will be part of the Dossier which will function as my project prototype. This post will only discuss what I’ve written so far.
Film Sound Analysis: Structure, Definition of Concepts & References
Throughout the whole experience, I noted 4 different sonic worlds. These moments have different hues and textures and require special narrative attention. However, they are not at all antagonistic between them. My idea for the sound is to play a big cyclical dramatic irony. The spectator will be hinted through sound about what is going to happen. The 4 sonic worlds are:
1. Dream
The dream itself is also divided into two sections: The Mountains and The Dream. They are both parts of Javi’s Dream. In total, it corresponds to a 5-minute-long scene. The first section has long shots of the mountains that slowly transition from one shot to another. They reflect a harsh solitude that transmits eerieness and the unknown. The last section contracts with psychedelic imagery. It could be split into indistinguishable imagery and Deu‘s cameo and first appearance.
In The Mountains section, the film will begin with a natural ambience of mountains and wind, which will rest for a considerable period, while at the same time, the music progresses towards the title. In The Dream section, it is essential to find a way to transition from one scenario to another. The parts have antagonistic ideas, and we ought to make sure that music and ambience fuse smoothly or harshly, depending on how the VFX editor will develop the titles. The Sound design for the Indistinguishable Dream must be sounded under the premise of “Everything that moves must sound”. Deu’s part must have all his sound design characteristics, which will be discussed later.
2. Journey
The journey starts on Javi’s Awakening and ends before encountering the monster. This time we see Javi’s “real world” and understand him physically and psychologically. Most of the shots are slow and show the nature of his neighbourhood and surrounding areas.
There are, however, 2 moments with sonic relevancy: The Encounter with the Villager and The Headache. The first sequence is a small moment at the beginning of the journey. Javi asks for directions from one of the villagers. This one particular is wearing an Asmat suit and is walking backwards. There is no dialogue between the two characters. However, sonically speaking, the Villager’s movement has to sound different from Javi’s. In the second sequence, Javi has a headache. It could be seen as a memory or a sort of demonical possession. However, this scene is the first time Deu appears outside a dream. Sound will showcase small details that connect with Deu’s voice. There is no (depictable) dialogue.
3. Realisation
As a realisation, I mean when Javi finally understands there is no way back. He meets the creature and realises its power, who he is and what it is made of. The realisation process can be divided into two sonic subworlds: possession and consumption.
In the first subworld, we see Javi fighting Deu’s possession. It is a sequence with many sound elements: Deu’s Voice and Movement, Visual glitches, the separation of the 2 moons, the bells, and music. Deu is all over the place but not entirely in control of Javi. The second part has to determine symbolism: Javi is wholly consumed by Deu and Reaches the pinnacle of his realisation. He witnesses what he is looking which will destroy him as a consequence. The visuals are rather beautiful and gore. They’re supposed to represent Deu’s insides. The sound would play an essential role in assuming this chaotic amalgam of ideas. There has to be some balance between sound design and music.
Deu is not completely inside Javi’s body during the possession, but there are already some signs it is happening. Showcasing Deu’s Voice is one of the elements. The transition is followed by glitches, not related to the VHS tape but to Deu’s possession. Music can be introduced progressively till the sequence end, where it completely disappears. The transition is followed by glitches, not related to the VHS tape but to Deu’s Possession. Lastly, the last bit will assume a similar version to the one in the dream. However, it would be more intense.
4. Credits
The credits are only referred to as relevant sonic worlds because it still has valuable narrative information. It’s sonically an easy scene to edit. It is a rupture to everything that has happened before and gives expectations to the sector. A VHS tape is the only sound that would be heard, and other glitches.