A Quote by Henry Mancini
I'm usually the last man on the totem pole. Except for the sound effects and the final sound mix, the score is the last element to be added to a picture.
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My job on a film is to be responsible for all the sounds in the movie besides the music. Together with my team, we work on the dialogue, foley, sound effects, and sound design. We work closely with the director and picture editor in the prep period, and then together with them, the sound mixers, and music crew, we collaborate on the final mix of the film.
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
The last player to score a hatrick in a cup final was Stan Mortenson. He even had a final named after him, the Matthews final
I have a real love of sound and the shape of the sound. I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff.
The book works better if I know everything I can about the ending. Not just what happens, but how it happens and what the language is; not just the last sentence, but enough of the sentences surrounding that last sentence to know what the tone of voice is. I imagined it as something almost musical. Then you are writing toward something; you know the sound of your voice at the end of the story. That's how you want to sound in those final sentences: the degree that it is uplifting or not, the degree that it is melancholic or not.
I didn't know anything about film when I first started - I was a painter - but I [always] felt that sound was just as important as the picture. The sound, picture, and ideas have to marry. If an idea carries with it a mood, sound is critical to making that mood.
It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.
Dance is low on the totem pole of the arts, because you're not left with a painting... a book that will stay there, a score you can read.
And if there are no cars or planes, and if no one’s Uncle John is out in the wood lot west of town banging away at a quail or pheasant; if the only sound is the slow beat of your own heart, you can hear another sound, and that is the sound of life winding down to its cyclic close, waiting for the first winter snow to perform last rites.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
I'm a huge, huge fan of Blu-ray. I think the picture and the sound quality is just such a massive improvement, and I think for movies like 'Event Horizon,' where the image is a key part of that film, and also the sound, as well, in any scary movie is an important element.
Years ago, I worked at a fashion magazine. I was the lowest man on the totem pole, one of the only men on that particular pole: a little brother with a dozen older sisters whose grace and glamour I so admired.
I love words; I love the way they sound. Once I've worked on everything else, the last drafts of my books come down to how they sound.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
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