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How Can Composers and Sound Designers Better Collaborate in Film? Sundance Institute and Skywalker Sound Have an Answer

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by Ryan Lattanzio
July 22, 2013 3:43 PM
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Benh Zeitlin at Sundance

Thom urges for an early collaboration between sound and music composition. "This idea of getting sound involved beginning with the script hasn't been taught in film schools. Our hope is that we're starting a movement that will take sound more seriously and integrate both of them more fully into the filmmaking process rather than their being the caboose at the end of the train," he said.

According to Thom, young directors are intensely interested in sound from the get-go. "The older, more established directors we work with – especially on big-budget films – have a more conventional notion about sound's role in a movie as a decoration you add to the film at the end of the process," he said. "The idea that sound should factor in early, even in pre-production and at the script level, is bold new territory. But young, wet-behind-the-ears filmmakers love the idea of thinking about sound before you shoot the scene."

Thom cited Benh Zeitlin as one such filmmaker, whose 2012 "Beasts of the Southern Wild," a Sundance darling from the ground up, incorporated innovative sound design in even its most nascent stages. Zeitlin composed the music himself alongside Dan Romer, and together they deftly blended a lively score with the sonic textures of a southern Louisianan bayou.

But this kind of collaboration, according to Thom, is an anomaly. "The communication between composers and sound designers doesn't seem to happen," he said. "You end up with the final mix of the music clashing with the sound, and that can be averted if the two camps are talking together."

One of the goals of the Sundance/Skywalker partnership is to give composers, sound designers and directors the organizational tools to avoid the problems that occur when communication between the three disciplines doesn't happen. "There's potential for sonic conflict. Music and sound effects can mask each other simultaneously so the audience doesn't hear either one clearly. In a way, it's like one big orchestra playing," Thom added.

In a summer of voluminous – in every sense of the word – tentpoles that rattle multiplex theaters with noise, Thom's remarks ring clear as a bell. Along the way, the relationships between composers and sound mixers, and therefore the one between the film and its audience, get lost in the din.

"Now is the right time for sound design," added Keri Putnam. "It's such a critical filmmaking component, which we didn't have the resources to support [previously]. Getting to know the Skywalker people and how they are so attuned to the creative vision of artists, this seemed like a very natural, organic way of building on the support we offer artists, like another color to the palette." 

Sundance Institute and Skywalker Sound will reprise their Composers Labs collaboration in summer 2014. Though there is still a gap to bridge between composers and sound designers in film, Sundance and Skywalker have found a pleasant harmony in the meantime.

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