“If only we could learn to listen to the world in the right way, its sounds could become all the music that cinema will ever need”
Tarkovsky’s approach to realism paved the way for sound for a screen that we still see and hear today. His heavy use of only foley creates realistic soundscapes. He believed that music over the screen was wrong and false. He stated, “I do not need ordinary film music. I cannot stand it, and I do my utmost to escape it …”.
Despite some viewers finding his work a more stripped-back approach, it provides audible space for understanding and thought-provoking moments on screen. Music is used as escapism within the screen. Often used to highlight certain emotions within the context of the movie or help narrate characteristics. However, when this is taken away we are left with no audible instruction but ‘realism’. With no music to tell us how to feel it can in some cases create deeper and more thought-proven effects on a storyline. When humans are left in silence to think by themselves, deeper emotions appear. Tarkovsky wanted the audience to “connect their meanings”.
A modern example of Tarkovsky’s approach to sound for the screen is sound is Philip Barantini’s ‘Boiling Point’ starring Stephan Graham. Sound composed by Aaron May and David Ridley uses a one-shot film with no music and only foley sound effects. The foley is not exaggerated and instead mixed to realistic levels. Throughout the film, the sound feels as if it has been completely left to its natural form; meaning there are no special effects or EQ added. This continues throughout the entirety of the film which brings an almost immersive experience. The camera angles used in a Point of View from the sound match this entirely well. Leaving an utterly pragmatic effect as if the viewer was there within the story.
I believe this approach matches Trakovsky’s aims and approaches to cinema and creates an all-round authentic piece of work.