For the Love of Film
Working on the film 'Cold' was a complete coup for me and a great laugh. How I managed to land the job is slightly mind boggling even now; I'm still scratching my head actually, and I know I'm jammy and got in through the back door, but life's like that sometimes and perhaps it was finally my turn for a bit of good luck (Jeez at long last!). I'm proud of what everyone involved in the film has achieved, I think everyone's passion in their respective rolls has produced something wonderful (just wait.... you'll see!), and certainly as far as the sound and music is concerned it's been a very happy, laid back collaboration. Anyhow, I'm writing this post as several people have asked me about the film and the sound. My intention is to explain a bit about the sound process. That's my intention, but I can already tell I'll digress. Go make yourself a cup of tea, it's gonna be lengthy as I'm dreadful at editing myself. Please, do 'bare with'.
Having had a lifelong fascination with movies I learnt a little about the film-making process when I tried to break into the field by reading scripts, firstly for an animation producer and later as part of my job as PA to a film director. I was promised experience on set and in post production. In actuality I got very little out of it because the person in question thought it more important that I break my butt trying to get him into the Ivy three times a week, or sell his antiques, or book him a helicopter from Gstad to Courchevel for 'after lunch' because the train would take too long, and could I jump-start the Ferrari which had languished in the garage all winter? This was not exactly what I had in mind. But I learnt what I could (including how to be a complete bitch to restaurant maitre d's ~ a very important life skill... hey I said I would digress!). It was an experience though; there was never a dull moment; I read and critiqued scripts, watched the production department tear their hair out, fell out with my employer for not upholding his side of the bargain, and then took a career turn...funnily enough!
During that whole 'Swimming with Sharks' duration and since then, my fascination for film has never diminished. I thought I'd never get a chance at the film biz again, but my marvellous husband Chips taught me the skills to edit audio books, which brought me Proust, which led me to twitter, where I found Eoin Macken, and Eoin gave us Cold. Bloody fantastic! Working on Cold with Chips has taught me such a lot more about sound (and about my husband), and Eoin, who seems to value my opinion (well, pretends to at least!), has been fantastic and unwittingly made my dream of working on a film come true!
It all began with deciphering Eoin's characteristically cryptic tweets. Because I'm psychic (or psychotic...) I had a light bulb moment on our drive to the South of France last summer. Chips was beating the devil out of the road, the kids were tearing each other apart in the back and I was riding shotgun in that blissful state of limbo between destinations, allowing my mind to empty, and my eyes to become accustomed to an horizon further away than the 250 meters that London allows. It came to me that Eoin's obscure updates were about filming. Before leaving London I'd also asked him to recommend a book for my hols which he'd kindly done. He raved about Steinbeck's 'East of Eden' and said book was on my lap.
Funnily it didn't please me in the least to realise he may possibly be remaking EoE. I adore that film and remaking what is considered a classic (by some) would have been foolhardy. So I tweeted him and he responded that I'd guessed right! He was indeed filming something in the vein of EoE, but not a remake. Alleluia! How exciting, a breeze blew and all the angels sang!
Back in London Eoin asked if I knew someone in sound who could work on Cold. I didn't put myself forward of course as I only know about one tiny part of sound editing, but I told him all about my husband Chips, who is a composing and sound genius and funnily enough had been working as dubbing mixer on Merlin for the past five years. This is only one of many coincidences and connections we've subsequently discovered; the world of film and TV is very small I suppose. Eoin sent me his script. I'd read a fair few screenplays before of course, mostly larger than life, gun-ho blockbuster types, but never one so beautifully well written as Cold. It is detailed to just the right degree as to allow it to play in your head, but not so over-described as to be a tome and novel-like. The story was unexpected, but wonderful.
So the three of us met up and got on, and discussed the film thus far as Eoin had yet to film the second block. Chips said I should definitely take on the dialogue editing, apparently I have an ear for it (only one mind..) and given Chips would be working alone on the rest of the sound process, which was a huge task, it was the least I could do. Not that I was confident I'd be any good... it was quite some learning curve, but I practised on various things, yet still worried I'd break something, maybe even the entire film.
So here's my version of the technical bit. I'll try make it as concise as I can (cos I know you ain't sound nerds..)!
The most important sound to capture is a clean recording of the dialogue. If the speech isn't well recorded the actors will later have to be recalled to do ADR (Additional Dialogue Recording), and no actor likes doing that. The zone the actor was in at the moment of filming is difficult to recapture and so additional recording might sound stilted.
On set, boom microphones are used (things on sticks, or if outside: things on sticks with a fluffy sock on, held up there by someone with Herculean stamina) and each actor wears a clip mic (which you're not supposed to see or rub up against cos it makes an awful racket.. please stop acting and keep still!).
In post production the dialogue editor (that was me....!!!) chooses the best recordings from the mics available (there can be many) pieces them together on a track, then totally deconstructs those recordings into various other tracks: one track for each actor's dialogue (extricating the words from all the other noises ~ in the case of Cold, mostly birds and wind (external, not the actor)). Each dialogue track contains words and breathing, grunts and sighs and snorts (..these are the things that amuse me). You also make several tracks of the sound effects (teacups, birds and more birds) and atmosphere tracks (wind, cars and whale-song).
The effects editor/s (for Cold it was Chips) then lays additional tracks of atmosphere (more wind (external...) and water from library or separate recordings (STAY WITH ME!!!) and spot effects (trains and spaceships).
Then you have foley - the sound that couldn't be picked up during original recording but is the glue which, I think, marries all the sounds and gives depth. Chips was foley artist with me at the recording buttons. We recorded at home at night because its quieter. It was a strange set up with me upstairs in the studio and Chips downstairs in the living room. We could see each other on our phones via FaceTime and for me it was strangely voyeuristic.... I have to say I watched my partner do the most peculiar things... kissing his arm, rubbing his clothes up and down, rubbing a pair of my stockings, thigh slapping, crouching and jumping on the spot like some rabid extra in Planet of the Apes.... Apparently 'skin' is best recorded, and I quote here, "slightly meatier". Consequently a slap, or placing a hand on flesh can sound super comical when recorded, and then gets toned down later. It certainly didn't help me that Chips gave each foley clip such a ridiculously literal say-what-you-see name like 'Bra Hand Boob'. Needless to say the foley had me in nightly stitches, to the point of busting a gut and I often forgot to switch my phone mic off... so you can still hear my suppressed Muttley wheezes on the recording (more editing there then...).
Foleying footsteps was a laugh, with Chips whipping off his trousers and dashing to fetch his bag of foley shoes, saying over his shoulder "I'm using Morgana's shoes from Merlin Series 3 here!". I expected 4 inch heels and was monumentally disappointed when he slipped into these:
Blimey! They actually worked!
Did I mention no trousers because the clothes rubbing sound gets picked up?
Ah, the recording was such a good time. I have to admit I was more than a little concerned about working with Chips so closely. We've always kept such separate work lives, which I'd previously and for years thought was important ~ you know, having your very own thing. I thought we'd bicker and argue. But he is seriously the funniest person I know, the only person on the planet who can evaporate an occasional dark mood of mine with just a look or a single quip. He is a walking encyclopaedia of sound who is infinitely patient, and quietly, surreptitiously, loony. Shhhhh, don't tell.
Are you still with me? I haven't finished yet...
You then have Special Sound Effects made up of all kinds of shit. This is the best fun and the most creative part, and Chips is a master at it. I won't go into it because its a secret!
Lastly, after Chips did a pre-mix at home, we transferred to a studio in Soho, met up with Eoin and final mixed the film in 5.1 surround sound. This is where all the sound elements and music are all melded together. If you've read my post on Evora, you'll know how I love their music. Their tracks fit so beautifully into the scenes. I also think the film score is absolutely brilliant. I've never met Kevin Whyms, but I really can't wait to, because he sounds like a complete laugh and an all round good guy. His music is utterly perfect in tone and pace, underlining the mood and enhancing the emotion of the entire film. Not only does he hit the nail on the head mood-wise, the man works at an amazing pace! I'm in awe of him.
So the sound elements are synced to the picture, mulled and agonised over, smoothed and equalised....... and then you finish. Gulp and Oh My God.
If you've got this far I salute you!
You know you've done a good job with the sound if nobody notices it at all, so a massive amount of effort is made for little recognition. This is why, in my opinion, sound guys are the under-rated and often unsung heroes of the film process ~ most folks don't realise the shear amount of work that goes into making a film simply sound believable. You won't be wining prizes for a good radiator sound when an actor bumps into one, but subtle additions as these enhance and improve a scene immensely. It was great that Eoin appreciated the quieter parts of the foley/sound process just as much as the obvious 'big bang, lets weird it up' special effects parts, although of course those were the most creative things to make and consequently the most fun!
Oh, its all part of the rich tapestry of film-making, and as Danny Boyle says, sound and music are the 'invisible manipulators' in film. Yep, I can't improve on that.
So I've been involved since the end of shooting of the first block, and have seen the film goodness knows how many times in all its various stages. I can recite every single last line, so don't go sitting next to me in the auditorium now. The script and story were excellent to begin with, but Eoin and the film editor Vicky Tooms (who clearly loves her work and has such infectious enthusiasm) have made improvements on the original script to make an even better film. I know Eoin agonised about cutting characters ruthlessly, but in doing so the film has been honed, is more concise and succinct, and the story is better for it. Eoin & Vicky cut down hours of film and I can't even cut down this silly blog post! I respect their skills all the more!
I've no idea what Eoin is like on set, but in post he is a wonderfully laid-back director, takes time to listen to ideas, he's creative, open-minded and trusting, consequently you want to do all you can for the guy. As a person he is empathetic, 'simpatico' and makes me laugh a lot :D. He's put all his many skills together and has made a truly wonderful film. I'm nervous and excited and proud. Very proud of everyone involved. I can't wait for you to see it.
For me the beauty of Cold lies not just in the way it looks, but in the fascinating manner in which it can be interpreted in different ways, and will mean different things to different people.
That and the sound of course. ;-)
