This is a radical challenge to what we expect of a sporting sequence, bluntly throwing us into pure metaphor. However, sound designer Frank Warner and editor Thelma Schoonmaker also chose to illustrate Jake Lamotta’s (Robert De Niro) summoning of anger and energy with recordings of elephants bellowing, horses shuddering, and more animals re-pitched to hypnotic effect: In Martin Scorsese’s Raging Bull, the gorgeous slow-motion fight sequences include all of the face-pounding brutality you would expect, accompanied by low howls of pain and fury.
It may have been synthesized using any number of tools including hardware and software synthesizers and samplers, effects processors, or even tape manipulation (Hitchcock’s The Birds is an essential example of the latter).įor the purposes of this essay, I focus on sounds that, to my ear, represent a creative deviation from literal sound. It may have been reproduced in the studio using foley techniques.
It may have been picked up by a microphone on set. Prologue: What is Sound Design?įor every sound in a film, someone found a way to record or create it and edit it into the mix. Expect a second chapter on April 26, 2018. I have focused on the first three films in the franchise purely because I haven’t yet had time to research the back half of the canon. This piece quickly exploded into an opinionated tome, drawing on experience as a sound designer and Alien obsessive.
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