Re: [microsound] Punch-Drunk Love Sound Design?

[BJM <bent@xxxxxxxxx>]

{ brad brace } wrote:

> so, I've always wondered: how does one become a cinema
> sound-designer?
>
> anyhow?
>
>  
Funny you should ask cuz I tried to break into film sound last year. 
Taught myself a whole bunch and started pestering everyone in town. I 
actually did find some indie films to help with. It was a good 
experience but things weren't looking so hot on the money front, so when 
I got laid off from a restaurant (for the second time in a year) I 
decided to go back to school.

Anyway, I think that I would have continued to gradually worm my way 
into the biz had I stayed on that tack. I was in Portland at the time, 
and lots of people told me I should go to LA. I think part of what 
steered me back to school is that I didn't really want to go to LA and 
it looked like Portland would be a lot of commercial work, if any.

So (trying to work my way around to answering your question), ya learn 
how it's done either on your own or through a school and then ya bust 
your ass for a few years doing low or no-pay indies. Eventually, you 
might get to work on a big flick (though you got to remember that 
there's a hundred crap movies made for every halfway decent one). Then 
again, a lot of people who do sound for picture get attached to a 
recording studio (or a film studio's post house) so they just work on 
whatever current project is on the plate...film, commercial, TV show, etc.

And actually, a "sound designer" (which is something of a controversial 
term in film sound circles, though I'll spare you that), is at the top 
of the heap... basically the audio director for the entire film. So, you 
can imagine how long that would take to get to. Then again there is 
another long shot possibility, which is probably what I'd go for if I 
give film sound another round. And that is to get something of a rep for 
some other type of audio -- well, like microsound, for instance -- and 
then hitch up with a progressive, cutting edge director... like the guy 
that works with the director of Pi and Requiem For a Dream (a pair of 
geniuses, if you ask me). That way, you do an end run around the whole 
biz thing, you can still look at yourself in the mirror, and if it 
doesn't open doors for ya, well at least you didn't waste a lot of time.

Shit. I'm probably totally off topic for this list. Sorry everyone... 
but he did ask. And actually, it occurs to me that here I am, a rank 
amateur spouting off about the film sound world when there's a 
verifiable professional in our midst. Kim, do you have any comment? Did 
I nail the nature of the beast or am I just blowing hot air?

b

And reading back through that, there is one more thing I should mention: 
film sound isn't all making fun, weird sounds... there are a million 
doorslams, car bys, glass clinks, and other pedestrian sounds for every 
"cool" effect. Of course it depends on the film and the director...