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Tag: We Need To Talk About Kevin

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Second Year Sound for Screen

Blog Post 4 We Need To Talk About Kevin – Sound Effects – Sound For Screen:

  Although I strongly value the importance of soundtracking within screen composition, I don’t personally often use this method myself. My approach to sound for screen consists of a variety of techniques. However, as I have developed the work I have found for serious pieces such as ‘We Need To Talk About Kevin’ music does not support the director’s intentions. Lynn Ramsey’s deliberate focus on the vulgarity of Kevin’s crimes on screen makes me feel that music juxtaposes the honest effect Ramsey is trying to portray. Music does provide a layer of beauty to a scene, however with coarse serious work such as this, it takes the viewer away from the scene. With uncomfortable shots and recurring motifs of blood, the film portrays difficult senses for the viewer. Soundtracks within the score detach the viewer from the severity of the scene. Finally, Lynne Ramsay’s work is filmed from a constant POV (Point Of View) from the mother. Soundtracks subtly tell the viewer where the point of view is taken. Music almost provides an Acousmêtre effect so it is undeniable that soundtracks create added value.

Despite this, I have chosen to create my score on a layer of multiple sound effects and field recordings edited to create its own type of score. With different effects added, mixed and sounds that represent certain themes layered together; the score builds a fabric for an intense sonic atmosphere. 

Categories
Second Year Sound for Screen

Blog Post 3: We Need To Talk About Kevin – Sound For Screen

I decided to choose We Need To Talk About Kevin as Lynne Ramsey’s reoccurring themes throughout the film spoke to me. The perception in which the film is written and shot is entirely from the mother’s point of view. Eva’s isolation throughout the film is a constant heartbeat; with her husband not trusting her, and general isolation with struggles towards motherhood. I found this an interesting concept and something I would definitely like to focus my work on throughout my sound. Throughout the movie, there are many references towards the juxtaposition between an ‘American dream’ mundane lifestyle and the hellish reality of what’s going on internally and physically after the tragedy. I will incorporate this into the sounds I decide to use as I also believe it elevates those themes of isolation and loneliness. With the use of flashbacks and foreshadowing by Lynne Ramsey, I feel that this is necessary to use within the sound. Voice audio taken from Kevin as a child will be played around with and threaded into the sound I will produce. The vulgar visuals and red motifs within the film highlight the brutality of Kevin’s crimes; purposely supposed to evoke an uncomfortable response. In reaction to this, I will try to incorporate exaggerated foley sounds that represent blood and gore. I hope to create an unsettling feeling and sense of uncomfortableness through my sound to mirror the message shown on screen. 

Categories
Second Year Sound for Screen

Blog Post 2: We Need To Talk About Kevin – Sound For Screen

As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from the La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. 

Categories
Second Year Sound for Screen

Blog Post 9 sound for screen:

A common technique used within sound for music is when the lyrics are used to foreshadow certain elements of what is going to happen on screen. Lyrics can be a powerful use of foreshadowing and I have chosen to use this within my work. Despite the viewer connecting the music to the scene automatically when we listen to music, we connect to the lyrics with the song. I found that this was a more subtle version of foreshadowing within the work without it becoming too overpowering for the viewer. 

The song I decide to use within my opening scene is a song named‘ Bow and Arrow’ by Kacey Johansing. Later in the film, Kevin used a bow and arrow to kill many of his victims at the school. Despite the obvious connection between the object, the metaphorical meaning behind the song is being unable to connect and discuss whose fact that is. These are recurring themes within the film; linking to the troubles of motherhood, and blame for Kevin’s behaviour. I felt that the lyrics of this song connect to deep levels of the movie without being entirely obvious and cliché within the links. Indirect foreshadowing leaves ambiguity for the viewer; leaving space for self-reflection and prediction.

Lyrics within the music can bring so much added value to a scene by narrating certain themes however they’re and strong and successful way to foreshadow events within the movie subtly and stylistically.

Categories
Second Year Sound for Screen

Blog Post 8 Non-Diegetic – Diegetic – Sound For Screen:

Non Diegetic sound allows the viewer to become extra immersed in the scene. Its added values give the narrative effect of the emotions and characters on screen. However, a technique I have found extremely useful in making my sound piece is a swift transition from non-diegetic to diegetic sound. Throughout my work, I decided that the music would become atmospheric radio sounds in the background. The transition creates a quick enveloping effect into an immersive piece of film. 

By creating this change the sound pulls you in and out of the point of view of Eva; taken from memory to the radio through sound when she wakes up. During the opening of ‘We Need To Talk About Kevin’, the first two scenes are extremely different showing a festival in Spain (indicating a memory) – to a sudden change of place and time when the mother (Eva) wakes up in her bleak home. The mood of the scene sees a quick change and can potentially become confusing to the viewer with no previous context. However with the use of music changing from non-diabetic to diegetic; audibly we are told that physically the scene has changed place but also mentally and emotionally the time within the scene has also changed. Keeping the music running throughout both scenes by using EQ automation to change the sound, creates a smooth and even flow to the screen. 

I believe this works well in my work as it reduces a bitty scene change while also informing the viewer that there is an obvious change of time, emotion and place. It narrates this stylistically and flowingly.

Categories
Second Year Sound for Screen

Why I have Chosen Not To Include Music 

Although I strongly value the importance of soundtracking within screen composition, I don’t personally often use this method myself. My approach to sound for screen consists of a variety of techniques. However, as I have developed the work I have found for serious pieces such as ‘We Need To Talk About Kevin’ music does not support the director’s intentions. Lynn Ramsey’s deliberate focus on the vulgarity of Kevin’s crimes on screen makes me feel that music juxtaposes the honest effect Ramsey is trying to portray. Music does provide a layer of beauty to a scene, however with coarse serious work such as this, it takes the viewer away from the scene. With uncomfortable shots and recurring motifs of blood, the film portrays difficult senses for the viewer. Soundtracks within the score detach the viewer from the severity of the scene. Finally, Lynne Ramsay’s work is filmed from a constant POV (Point Of View) from the mother. Soundtracks subtly tell the viewer where the point of view is taken. Music almost provides an Acousmêtre effect so it is undeniable that soundtracks create added value.

Despite this, I have chosen to create my score on a layer of multiple sound effects and field recordings edited to create its own type of score. With different effects added, mixed and sounds that represent certain themes layered together; the score builds a fabric for an intense sonic atmosphere. 

Categories
Second Year Sound for Screen

Why I have Chosen Not To Include Music 

Although I strongly value the importance of soundtracking within screen composition, I don’t personally often use this method myself. My approach to sound for screen consists of a variety of techniques. However, as I have developed the work I have found for serious pieces such as ‘We Need To Talk About Kevin’ music does not support the director’s intentions. Lynn Ramsey’s deliberate focus on the vulgarity of Kevin’s crimes on screen makes me feel that music juxtaposes the honest effect Ramsey is trying to portray. Music does provide a layer of beauty to a scene, however with coarse serious work such as this, it takes the viewer away from the scene. With uncomfortable shots and recurring motifs of blood, the film portrays difficult sensory for the viewer. Soundtracks within the score detach the viewer from the severity of the scene. Finally, Lynne Ramsay’s work is filmed from a constant POV (Point Of View) from the mother. Soundtracks subtly tell the viewer where the point of view is taken. Music almost provides an Acousmêtre effect so it is undeniable that soundtracks create added value.

Despite this, I have chosen to create my score on a layer of multiple sound effects and field recordings edited to create its own type of score. With different effects added, mixed and sounds that represent certain themes layered together; the score builds a fabric for an intense sonic atmosphere. 

Categories
Second Year Sound for Screen

We Need To Talk About Kevin:

2011

Lynne Ramsey 

I decided to choose We Need To Talk About Kevin as Lynne Ramsey’s reoccurring themes throughout the film spoke to me. The perception in which the film is written and shot is entirely from the mother’s perspective. Eva’s isolation throughout the film is a constant heartbeat; with her husband not trusting her, and general isolation with struggles towards motherhood. I found this an exciting concept and something I would definitely like to focus my work on throughout my sound. Throughout the movie, there are many references towards the juxtaposition between an ‘American dream’ mundane lifestyle and the hellish reality of what’s going on internally and physically after the tragedy. I will incorporate this into the sounds I choose to use as I believe it elevates those themes of isolation and loneliness. With the use of flashbacks and foreshadowing by Lynne Ramsey, I feel that this is necessary to use within the sound voice audio taken from Kevin as a child will be played around with and threaded into the sound I will produce. The vulgar visuals and red motifs within the film highlight the brutality of Kevin’s crimes; purposely supposed to evoke an uncomfortable response. In reaction to this, I will try to incorporate exaggerated foley sounds that represent blood and gore. I hope to create an unsettling feeling and uncomfortableness through my sound to mirror the message shown on screen.