![]() ![]() The imposing hardware, as well as the sounds it produces, plays a supporting role, too. The whirring reels, large recording equipment and rolls of audiotape seen in “Blow Out” and “Berberian Sound Studio” are artifacts of the pre-digital filmmaking eras in which these movies take place. “I did this as an editor, and sound editors do it, but I don’t think anybody had ever seen the process,” he said. In a crucial scene, he syncs his recording to film images of the same event. De Palma makes time for detailed moments that explore his main character’s work. While the film involves a serial killer and features elaborately staged action sequences, Mr. De Palma wrote a scene in “Blow Out” that is taken almost directly from this exchange. Sable went out to record some new wind.) Mr. Can’t you get me some new sound?’ ” (They both laughed the next day Mr. We had some wind in the trees, and I heard the effect he used and said: ‘Dan, I’ve heard that same wind effect in the last three movies. “When I was mixing ‘Dressed to Kill,’ ” - his “Psycho” pastiche from 1980 - “I was working with sound effects editor Dan Sable, who had done a bunch of movies for me,” Mr. De Palma, known for his focus on visual style, drew from his own experience with a sound editor. De Palma’s 1981 thriller, “Blow Out.” Mr. Working on a larger spectrum was John Travolta, who played a sound recordist for B-horror movies who accidentally records the murder of a presidential hopeful in Mr. I learned to trust the power of working on a very small spectrum.” The change the character undergoes is so gradual and, in a way, like a dimmer switch, even though the things he’s seeing and hearing are so extreme. “But what I found useful was to try and register, so that an audience could see it, shifts in my body, shifts in my breathing. “In any role, your listening is important,” Mr. Jones said that last action was crucial to his performance. In addition to watermelon and cabbage stabbings, the film devotes considerable time to quieter aspects of a sound engineer’s job: spooling tape, looking at dubbing charts (a kind of sound storyboard) and keenly, and attentively, listening. “If you take this very ridiculous image of grown men smashing watermelons, but couple that with very repellent violence,” he said by phone from London, “when you’re watching it, you think: ‘Should I laugh? Should I walk out?’ It’s quite disorienting.” Strickland looked for dissonant, visceral ways to illuminate the sound production process. The camera instead finds other elements like actresses in sound booths recording their screams, the light from the movie screen flickering on their faces.Īs the movie explores the dire psychological effect those images have on Gilderoy, Mr. But the only moment the audience sees is its opening credit sequence. ![]() ![]() ![]() Its characters are working on a horror picture called “The Equestrian Vortex,” which has no shortage of shocking imagery. Directed by Peter Strickland, “Berberian” is set in the ’70s, during the boom in Italian giallo (thrillers, mysteries and horror films). “Berberian Sound Studio” takes an unconventional approach, keeping its film within a film off screen. The challenge is supplying creative visuals to illuminate characters focused on the aural. A person holding a microphone or sitting at a mixing board adjusting faders may not at first seem like the most compelling cinematic subject. ![]()
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