A Quote by Ti West
You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.
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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.
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.
Working with Timbaland, you know it's not gonna sound like anything else out there today. The sound is very next-level.
The hardest part, for me, is being in the band and knowing the way I want certain things to sound, but also having to listen to opinions, and very valid opinions, of my bandmates. So, sometimes, I'll have to have conversations with them as a producer and then conversations with them as a bandmate.
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
All music done, as I said, through low res mp3 and $5 earbuds and so I think as a producer or a band you want your music to sound good in that medium. Sometimes when I'm doing a mix I'll listen to it on my laptop, on the crappy speakers on my laptop. It lets me know what the tracks gonna sound like if someone else listens to it that way.
I never made a distinction, really, between music and sound. Let me explain what I mean by that. I grew up near to a train station, and the sound of the trains became a very important part of my world. It was a very musical sound to me.
I tell my workshop students, 'I want you to think of yourselves as artists. Then, when you're writing, you're painting, you're crafting, you're making a design, you're sculpting, you're creating choreography, sound, a sound script.'
You know music and sound design can be very powerful with how you use it but also the absence of sound can say a lot as well.
There's a difference between writing, the written word, and music. When you have the blank page it doesn't make a sound, which is like what happens to me every night when I'm playing. There is that crazy moment: the first mark you make on the page. But sound can inspire sound, in a way that words can't inspire words - at least for me. The nature of sound itself is still a huge mystery to me. I'm very happy about that.
We look so very different from the way we sound. It’s a shock, similar to hearing your own voice for the first time, when you’re forced to wonder how the rest of you comes across if you sound nothing like the way you think you sound. You feel dislodged from the old shoe of yourself.
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.
Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective.
It's like having a conversation. Doing beatbox for me is as natural as talking is for someone else. Sending sound through a certain part of my throat, so that I am accurate every time. It's not like whatever happens happens, this is a focused sound.
Probably my favorite piece of music, as an album taken as a whole, is Bruce Springsteen's 'Greetings from Asbury Park.' I just think it's incredibly pure. It's a sound that sort of broke new ground, and I think it paved the way for a hundred people that sound very similar.
I think that when you're writing plays, and I think it's also true with novels, it helps to have an ear for the music of language, for what we call poetry, for the sound effects and the way that the sound can produce sensual feeling at odds with or consonant with the content of the work. Your work is also gorgeous writing. It's very unfortunate when you open a novel that everybody's loving and it's just, you know, an excruciatingly bad sentence.
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