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Screenwriting for Sound

Screenwriting for Sound I have decided to call this talk ‘Screenwriting for Sound’ because of this crackpot theory I have been working on for quite a while now. It’s quite a radical theory in the film world; that sound design is not actually something that should only happen in post-production on a film or a video, but rather that sound design is something that needs to happen much earlier, beginning with the script. And if not beginning with the script, then with re-writes of the script, or at least very early on in the production process, when there’s still time for sound ideas to percolate up and have an affect on creative ideas in all the other crafts. Unfortunately, today filmmakers really only begin to think about sound in serious terms during what’s called post-production. By that time decisions have been made and implemented in all the other crafts, and this has made narrower and narrower the number of possibilities available to the sound people to participate in the story telling. As a result, in each project sound finds itself in a creative straightjacket in which the only thing it can attempt to do is to decorate what already exists, decorate http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Screenwriting for Sound

Thom, Randy
The New Soundtrack , Volume 1 (2): 103 – Sep 1, 2011
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2011.0013
Publisher site
See Article on Publisher Site

Abstract

I have decided to call this talk ‘Screenwriting for Sound’ because of this crackpot theory I have been working on for quite a while now. It’s quite a radical theory in the film world; that sound design is not actually something that should only happen in post-production on a film or a video, but rather that sound design is something that needs to happen much earlier, beginning with the script. And if not beginning with the script, then with re-writes of the script, or at least very early on in the production process, when there’s still time for sound ideas to percolate up and have an affect on creative ideas in all the other crafts. Unfortunately, today filmmakers really only begin to think about sound in serious terms during what’s called post-production. By that time decisions have been made and implemented in all the other crafts, and this has made narrower and narrower the number of possibilities available to the sound people to participate in the story telling. As a result, in each project sound finds itself in a creative straightjacket in which the only thing it can attempt to do is to decorate what already exists, decorate

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2011

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