TLDR;
This video explores the historical divide between film scores and sound design, highlighting how they've traditionally been treated as separate entities in the production process. It uses John Cage's "4 minutes and 33 seconds" to question the definition of music and sound, and examines instances where collaboration between composers and sound designers led to innovative audio experiences, such as in "The Nightmare Before Christmas" and "WALL-E." The video advocates for integrating sound design and music composition from the beginning of creative projects to enhance the acoustic landscape of media.
- The traditional separation between film scores and sound design.
- John Cage's "4 minutes and 33 seconds" as a challenge to the definition of music.
- Examples of successful collaboration between composers and sound designers.
- Advocacy for early integration of sound design and music composition in media production.
The Divide Between Film Score and Sound Design [0:00]
The film world has long been divided between film scores and sound design. Film scores encompass all the music in a film, while sound design includes creating unique sounds (like lasers), Foley (actor-made sounds recreated in a studio), and ADR (additional dialogue recording). Sound effects are often seen as competition for composers, a sentiment that contrasts with early cartoons where music came first and animation followed.
The Evolution of Sound Effects in Cartoons [1:01]
Early Disney cartoons used a technique called "Mickey Mousing," where music was composed first, and animators adapted scenes to fit the score. As cartoons evolved and incorporated dialogue, studios had to find creative ways to emulate sound effects due to technological limitations. Sound departments began recreating sounds in studios, similar to modern Foley, but these closely scored sound effects became associated with goofiness when used outside of Disney cartoons.
The Traditional Separation in Production [2:09]
The worlds of sound effects and film scoring have remained largely separate since then. Composers typically work on music independently, with sound effects added later. This separation is common in various media, including video games, where audio designers and composers rarely interact. A behind-the-scenes clip from Star Wars Episode 2 illustrates the challenge of integrating music and sound effects in the final mix.
John Cage's 4 Minutes and 33 Seconds [3:07]
John Cage's "4 minutes and 33 seconds," a piece consisting of silence, challenges conventional notions of music. The piece has three movements of varying lengths, each marked "Tacet," indicating silence. Interpretations of the piece vary, with some suggesting it's about the audience's sounds becoming the music, the performer's discipline, or a composer's mastery.
The Sequels to 4 Minutes and 33 Seconds [4:32]
Cage wrote sequels to "4 minutes and 33 seconds" that further challenge interpretations of the original piece. "4 minutes and 33 seconds number two," also known as "0 minutes and 0 seconds," instructs performers to perform a disciplined action with maximum amplification, subject to interruptions and obligations to others. "One cubed" involves placing a microphone in a music hall on the edge of feedback, making the audience's noises the performance. These sequels disprove theories about the original piece by creating works that embody those interpretations, suggesting "4 minutes and 33 seconds" has a different meaning.
Defining Music and the Role of Silence [6:39]
The video argues that "4 minutes and 33 seconds" is about defining music. If music is a series of organized sounds, then Cage's piece qualifies as a basic form of music. Time is the canvas for music, and silence is an essential component used by all composers. Bob Ross's wet-on-wet painting technique is used as an analogy: just as Ross can leave a canvas white and call it a painting, Cage can present silence as music.
The Importance of Collaboration [9:04]
In production, music and sound design are often the last elements added to a film. The author expresses frustration that audio is often an afterthought. Composers sometimes listen to sound effects to ensure compatibility, but this is rare. Exceptions occur when music is needed before filming, such as in musicals. Films like "The Nightmare Before Christmas" and "WALL-E" demonstrate the benefits of involving composers and sound designers early in the creative process.
Examples of Successful Integration [10:01]
Tim Burton involved Danny Elfman from the beginning of "The Nightmare Before Christmas," showing him concept art and ideas before the script was complete. Similarly, the sound designer for "WALL-E" was brought in early, allowing for close attention to sound during animation. This collaboration enabled Pixar to create an opening with minimal dialogue. The video concludes by advocating for producers, directors, sound designers, and composers to collaborate from the start of a project to create a cohesive acoustic landscape, emphasizing that sound effects are, in essence, organized sounds.