Bruce Torres
Let's be alone together.
Watch a half hour documentary on the sound of Star Wars Rogue One
Peter Kirn — March 29, 2017
For lovers of sound design – cinematic or otherwise – Star Wars is always good reason to nerd out. But Rogue One is something different, as the first film to be a standalone or spinoff. On the music side, it meant a new composer who wasn’t John Williams (Michael Giacchino). But perhaps the less known story is that sound, too, got a new direction.
Filling the shoes of Ben Burtt is no easy task. There’s probably no Hollywood sound creator better known than Burtt. And as with any Star Wars film, you have the unique challenge of trying to do foley work for things that don’t exist in the real world.
But here’s where Star Wars has given us a legacy. Even though computer tech gives you the theoretical ability to produce any sound you can imagine, that doesn’t mean it’s the easiest or most artistically satisfying route to making a sound. And the unique talent of Skywalker Sound for finding sounds in the real world is one that can impact just about anyone working in sound – whether you’re imagining a scifi robot or just an interesting drum kit.
All of this means that Sound on Sound have given us a terrific watch. They spend half an hour speaking to the men and women who gave us Rogue One sound.
So what you get are details like how to do foley for Stormtroopers and how a combination of real/processed, recorded/digitally modified sound of a door gives you a droid.
“Believability” is an interesting quality I think to musical sound, too – so in music, making something “gritty” and real on one hand, or imaginary and fanciful and even impossible on the other, gives you a spectrum of ways of playing with the mind’s perception and memory.
Also, I think it bears saying that Sound on Sound generally remains a pillar of sound recording and music technology journalism. It’s simply terrific that they’re going out and doing this, and not just product vendors. Kudos to one of the better outlets in the business. Oh yeah, and you know we’re totally jealous y’all got to go do this! (And it’s relevant to electronic music, too, as I know this film inspired a lot of us, as this dominated my social media chats and feeds over Christmastime!)
Fonte: http://cdm.link/2017/03/watch-half-hour-documentary-sound-star-wars-rogue-one/
Germain Lussier
Monday 3:40pm
It was a day long remembered: October 30, 2012. The day Disney announced it had bought Lucasfilm and would be releasing new Star Wars movies. Fans everywhere immediately began freaking out about the news, but one in particular saw it as an opportunity.
That person is Gary Whitta, who previously wrote The Book of Eli and After Earth before being annoucned as the first writer on the first Star Wars standalone film. “I literally went from reading the news story on my phone to calling my agent and saying ‘Oh my god you gotta throw my hat in the ring,’” Whitta told io9. “Now, I’m sure every writer in town was doing the same thing. I never seriously thought I’d get in that room.”
Get in the room he did. Whitta told us that he later was summoned to a secret, very general meeting at Lucasfilm. “There was no talk of Rogue One or Death Star plans or anything like that,” Whitta said. “Lucasfilm is a little like the CIA. They’re very, very secretive. So I had the meeting and thought, that’s it. I didn’t think anything was going to come out of it.”
It was, until, he got sent a document. In the document was John Knoll’s story pitch for what would become Rogue One, about the Rebels who stole the original Death Star plans. “I thought that was a great idea,” Whitta said. “And John is brilliant, but he’s not a screenwriter, so they needed a writer to come in and take what he started and flesh it out into a full story. Why they hired me, I still couldn’t tell you.”
He has one idea, though. It happened in the second meeting after he’d read Knoll’s document. “I told him, ‘This movie reminds me a bit of Zero Dark Thirty,’” Whitta said, citing the strong female characters, on the ground, in a war zone, on a crucially important mission. “The moment I said that I saw a bit of recognition in John. He nodded, and I thought ‘I said something right there.’”
Later, after being hired, Whitta saw the PowerPoint presentation Knoll created to pitch the idea to Lucasfilm president Kathleen Kennedy. “There was a ton of Zero Dark Thirty footage in there,” Whitta said. “So I did say the right thing. I made the right reference, and maybe that’s one of the reasons why they felt I had the same sensibility for what the film would be as john’s original vision was.”
Though Whitta wrote the first drafts of the script, he got a “story by” credit with Knoll in the final film, while Chris Weitz and Tony Gilroy got the screenwriting credit. This doesn’t bother him, though, because he explains that with a movie this size, the more talent they can throw at it, the better.
“I think of Rogue One like a relay race,” Whitta explains. “John ran the first leg. He handed the baton to me and I ran the second leg. Then as I started to get exhausted and run out of steam I handed the baton to Chris. Then Chris runs his leg and makes his contribution, which is a huge contribution as he created Chirrut, Baze, and Bodhi, and then he takes it to Tony who takes it over the finish line.”
“You’re grateful to work with talented people,” Whitta concluded. “Plus no one knows who did what. You just see the four names on the screen.”
And for Whitta that started with nothing but a timely telephone call.
Peter Kirn — March 29, 2017
For lovers of sound design – cinematic or otherwise – Star Wars is always good reason to nerd out. But Rogue One is something different, as the first film to be a standalone or spinoff. On the music side, it meant a new composer who wasn’t John Williams (Michael Giacchino). But perhaps the less known story is that sound, too, got a new direction.
Filling the shoes of Ben Burtt is no easy task. There’s probably no Hollywood sound creator better known than Burtt. And as with any Star Wars film, you have the unique challenge of trying to do foley work for things that don’t exist in the real world.
But here’s where Star Wars has given us a legacy. Even though computer tech gives you the theoretical ability to produce any sound you can imagine, that doesn’t mean it’s the easiest or most artistically satisfying route to making a sound. And the unique talent of Skywalker Sound for finding sounds in the real world is one that can impact just about anyone working in sound – whether you’re imagining a scifi robot or just an interesting drum kit.
All of this means that Sound on Sound have given us a terrific watch. They spend half an hour speaking to the men and women who gave us Rogue One sound.
So what you get are details like how to do foley for Stormtroopers and how a combination of real/processed, recorded/digitally modified sound of a door gives you a droid.
“Believability” is an interesting quality I think to musical sound, too – so in music, making something “gritty” and real on one hand, or imaginary and fanciful and even impossible on the other, gives you a spectrum of ways of playing with the mind’s perception and memory.
Also, I think it bears saying that Sound on Sound generally remains a pillar of sound recording and music technology journalism. It’s simply terrific that they’re going out and doing this, and not just product vendors. Kudos to one of the better outlets in the business. Oh yeah, and you know we’re totally jealous y’all got to go do this! (And it’s relevant to electronic music, too, as I know this film inspired a lot of us, as this dominated my social media chats and feeds over Christmastime!)
Fonte: http://cdm.link/2017/03/watch-half-hour-documentary-sound-star-wars-rogue-one/
** Posts duplicados combinados **
Rogue One's First Writer Got the Job in a Very Simple WayGermain Lussier
Monday 3:40pm
It was a day long remembered: October 30, 2012. The day Disney announced it had bought Lucasfilm and would be releasing new Star Wars movies. Fans everywhere immediately began freaking out about the news, but one in particular saw it as an opportunity.
That person is Gary Whitta, who previously wrote The Book of Eli and After Earth before being annoucned as the first writer on the first Star Wars standalone film. “I literally went from reading the news story on my phone to calling my agent and saying ‘Oh my god you gotta throw my hat in the ring,’” Whitta told io9. “Now, I’m sure every writer in town was doing the same thing. I never seriously thought I’d get in that room.”
Get in the room he did. Whitta told us that he later was summoned to a secret, very general meeting at Lucasfilm. “There was no talk of Rogue One or Death Star plans or anything like that,” Whitta said. “Lucasfilm is a little like the CIA. They’re very, very secretive. So I had the meeting and thought, that’s it. I didn’t think anything was going to come out of it.”
It was, until, he got sent a document. In the document was John Knoll’s story pitch for what would become Rogue One, about the Rebels who stole the original Death Star plans. “I thought that was a great idea,” Whitta said. “And John is brilliant, but he’s not a screenwriter, so they needed a writer to come in and take what he started and flesh it out into a full story. Why they hired me, I still couldn’t tell you.”
He has one idea, though. It happened in the second meeting after he’d read Knoll’s document. “I told him, ‘This movie reminds me a bit of Zero Dark Thirty,’” Whitta said, citing the strong female characters, on the ground, in a war zone, on a crucially important mission. “The moment I said that I saw a bit of recognition in John. He nodded, and I thought ‘I said something right there.’”
Later, after being hired, Whitta saw the PowerPoint presentation Knoll created to pitch the idea to Lucasfilm president Kathleen Kennedy. “There was a ton of Zero Dark Thirty footage in there,” Whitta said. “So I did say the right thing. I made the right reference, and maybe that’s one of the reasons why they felt I had the same sensibility for what the film would be as john’s original vision was.”
Though Whitta wrote the first drafts of the script, he got a “story by” credit with Knoll in the final film, while Chris Weitz and Tony Gilroy got the screenwriting credit. This doesn’t bother him, though, because he explains that with a movie this size, the more talent they can throw at it, the better.
“I think of Rogue One like a relay race,” Whitta explains. “John ran the first leg. He handed the baton to me and I ran the second leg. Then as I started to get exhausted and run out of steam I handed the baton to Chris. Then Chris runs his leg and makes his contribution, which is a huge contribution as he created Chirrut, Baze, and Bodhi, and then he takes it to Tony who takes it over the finish line.”
“You’re grateful to work with talented people,” Whitta concluded. “Plus no one knows who did what. You just see the four names on the screen.”
And for Whitta that started with nothing but a timely telephone call.
