Como anticipo a un post más elaborado sobre el tema, recomendamos el canal de Vimeo de Michael Coleman, que contiene un buen muestrario del trabajo de diseño de sonido en Holliwood, con declaraciones de directores y diseñadores de sonido. Entre todos ellos cabe destacar este de Drive, cuya película nos hizo fantasear con cómo debe sonar un Bentley.
O este otro de Super 8, con Ben Burtt. Para el que escribe, la escena pegada más abajo, con el descarrilamiento del tren al principio de la película, es de lo mejorcito que se ha escuchado en una sala de cine en algún tiempo, montado desde la nostalgia de J.J. Abrahams por el sonido de las películas de los 80, como él mismo expone aquí.
Estoy muy obsesionada con Drive, precisamente la vi la semana pasada por enésima vez, no había visto ese vídeo… En todo el cine de Nicolas Winding Refn hay una relación muy especial entre imagen y sonido. Dejo una cita al respecto que creo que explica muchas cosas…
“…when I make movies, I always try to see them as a piece of music … When you see “Bronson,” that’s like Pet Shop Boys, because I was only listening to Pet Shop Boys when I was writing it. “Valhalla Rising” was Einstürzende Neubauten. This one (Drive), I wanted an electronic score because I thought to counter balance the machinery of the car and the driver, half man, half machine, that was going to be interesting. But I didn’t want, what you would say, aggressive electronica music. It had to have a ring of the past. In Europe we have this sound of Eurovision, which was this kind of pop that came out of Italy and Germany a lot. Giorgio Moroder was one of the famous producers of that sound, so I would listen to a lot of Kraftwerk when we were writing. When I was shooting and editing, Kraftwerk was always the key because that made me understand that he’s half-man, half-machine, but he drives an antique. Kraftwerk would make music on crude machinery in the late ’70s, early ’80s they would make effeminate electronic sounds. He’s half-man, half-hero as well, so there’s always finding the halves, the flipside to the coin each time. So that’s why the music would flip to counter the masculinity of the stunt world with the feminine side of the European pop”.
“when I was writing it. “Valhalla Rising” was Einstürzende Neubauten.”
Ni que lo digas…
http://www.youtube.com/watch?v=6-THfsKTa4Q&feature=player_detailpage#t=2006s
http://www.youtube.com/watch?v=W8qasNIcOUM