Sound on Film
An Introduction
Whether it’s the ominous ticking of a click, the cheering crowd at Caesar’s feet, raised voices in a lovers’ spat, or the tender words of a mother to her child, sound has always been an equal co-conspirator with the visuals of cinema. Bu I’ve always loved the sizzle more than the steak. I believe sound is the thing that makes cinema something far more than just moving pictures. Dialogue, sound effects, and ambiance bring film to life, and life to film.
I’ve always loved the sound of film. And, as a location sound recordist, a sound editor, a longtime film journalist, and now, as a newly minted Irish citizen (after six years in Dublin), I’m thrilled to be exploring the audio side of Irish film, and presenting my findings here in CinÉireann.
As an American, I’ll admit that Irish filmmaking is still a bit new to me. But, in the months and years to come, I hope my shallow grasp of Irish cinema will prove an asset, allowing me to see (and hear) Irish film with fresh eyes and ears, as I document the ways that Irish filmmakers are using sound to tell their stories.
I’m eager to talk to industry insiders like sound recordist Peter Nicell and re-recording mixer and sound supervisor Killian Fitzgerald (Michael Inside), and re-recording mixer Ken Galvin (The Delinquent Season), in the hopes that they’ll pass on advice for on-set recording techniques and tips for post production sound. In addition to the technical challenges of (recording/editing/mixing sound for horror and drama versus comedy, in studio and on location), we’ll look at the practicalities of shooting in Ireland. How do weather and persistent climate affect gear choice and handling? What advice do they have for early career sound professionals? What do they listen for at the theatre? Who are the Irish filmmakers they listen for at the theatre?
I’ll also be talking to festival programmers. What are their technical requirements for submitting sound, and why do they exist? What do the programmers listen for, and why? From a sound perspective, what can producers do to increase their chances of getting programmed into Ireland’s top festivals?
But these monthly columns will be more than just gearhead advice, and technique workshops, the focus will always be on storytelling with sound. From the early drafts of the script, to the final mix, and the red carpet premiere, how are Irish filmmakers thinking about and using sound to build tension, create drama, and bring visuals to life?
And, as I hope to never stop learning, I implore you, the reader, to get in touch with me (at [email protected]) and share your thoughts on sound in Irish film. What films and filmmakers stand out in your mind?
What do you listen for, and what are you hearing?
Glenn Kaufmann
Dublin, Dec. 2017
CinÉireann / December 2017 73