> From: PDML [mailto:[email protected]] On Behalf Of Mark Roberts > > Steve Cottrell wrote: > > >On 4/3/13, Postmaster, discombobulated, unleashed: > > > >>The job of the foley artists is to provide the sound the audience > >>expects - or whatever will emphasize the action on screen - not > >>provide *real* sounds. That's why we get spaceships making whooshing > >>sounds in the vacuum of space and handguns making the sounds of field > >>artillery. > > > >Very well put. > > By the way: A couple of weeks ago the Museum of Fine Arts here in > Boston did a Kubrick film festival. We went and saw (among other > things) 2001: A Space Odyssey. It was even more brilliant than I > remembered it. Kubrick insisted that all the shots in space have *no* > sound effects because, well, it's a vacuum - except for the famous Blue > Danube docking sequences there isn't even any background music. > The effect is very powerful - in sound design less is often more. > > Here's a good article about just one scene, and it mentions the > stunning sound design quite a bit: > http://www.avclub.com/articles/2001-a-space-odyssey,43912/ >
Jacques Tati, Robert Bresson and Luis Bunuel all use sound extremely well in their movies, in ways that are often only noticeable in the 2nd or 3rd viewing/hearing. B -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
