Let’s start this year talking about some people who make the history of film sound.
Gary Rydstrom (born June 29, 1959) is an American sound designer and director. He has been nominated for seventeen Academy Awards, won seven Oscars for best sound mixing and editing.
He received the first Oscars for sound and sound editing in 1992 for Terminator 2: Judgment Day, and the most recent Oscar nomination for Lincoln in 2013, Also did the sound of Star Wars Ep VII the force awakens, Jurassic Park, Saving Private Ryan, Finding Nemo, Monsters Inc, and a lot more
He says ” sound effects editing and sound design to me is a lot like knitting. And sometimes I think that it’s like quilting. Or sometimes I even think that it’s like arranging knick knacks in a cabinet and you just want the knick knacks to look right, where you place them, which one looks good. All of these analogies I consider bad and not very manly, so I decided sound effects editing is actually more like flying a fighter jet. But not really. It’s more like quilting.”(IMDB).
An amazing Brazilian animation that truly exemplifies the power of
imagery and sound design as a combination that has more than enough to portray a powerful and deep message. It shows an adventurous quest
that illustrates the issues of the modern world through the eyes of a child. This story is about a young boy who sets out to seek his father
who had to leave to work in the city. But on his journey, the boy finds many more facets of life that he had never experienced. He sees life as it could never have been in his imaginations. It is his survival through all the changes, which he never welcomed or run away from, that meets
him in his lifelong quest for his father.It has great and careful sound works.
Everything in this movie was created, recorded and edited to not be a realistic sound! This movie doesn’t have dialog (only a few words of a very weird language) , so it is a entire movie only with sound design, foley and sound tracks
All the audio post production of this movie was with only 4 people, – Pedro Lima – Re-recording, foley artist and sound designer, Marcelo Cyro (sound designer and music mixer) Ariel Henrique (music mixer), and Teo Oliver(sound editor) , and competing in the Academy Awards with a Pixar’s movie that has 360x more budged than the boy & the world!
The director Alê Abreu want that all sound to be created, nothing was real, it was the imagination of the boy. A horse is not a horse, a bird is not a bird, a frog is not a frog, everything is the main characther discovering a new world.
Some music instruments was used to create the sound of this movie like digeridoo to do the animal’s sound , some flutes and vocalizations to do the birds, and a lot more.
Was recorded sounds of whistles , tools , toys, and any other type of material. Then use the computer softwares and plugins to twist, distort, shapes to create movement or action and also the character ‘s personality and the world that he is discovering.
All the ambiences was created and this therefore become a character, with a range of “emotions” and “moods.” like for example some crickets bothering when the father’s boy
left his home. (made with some analog synts) and a lot more.
Every sound was design for especific scene,
We needed in this movie to a help a lot the story. It is very important to not me a usual sound, but a “ emotional sound”. Showing how this boy feel about the world,
sometimes sounds are larger than life, to you fell the fear of this boy about something that he don’t know.
The audio works is part of identity of this a picture, that can provide even more life to this art.
Yes, tell stories with sounds especially in this movie,
You can create a unreal world, emotion and feelings.
You can simply change the meaning of a scene only with the sound or silence.
Or create a boy’s world.
Let’s talk and show even more, in our next newsletters.Special Thanks to Alê Abreu