December 14, 2008
Gus Van Sant’s films are always a little bit strange. even when they’re more on the mainstream side, they’ve got an edge to them; something about them feels a little bit odd … in a good way. one of the elements that lends to this feeling is the use of sound in his films.
his 2003 picture ‘elephant’ is a rather explicit example of how sound can effect the dimensionality of the filmic space. consider an early scene on a high-school football field. the shot is static; we see young men playing football, and they move in and out of the frame. in the background, a cheerleading squad practices their routine. the scene is relatively mundane, and yet something seems off. somehow the cheerleaders sound a bit closer than they should. at moments the boys sound like they’re right next to us and then they could be miles away. at one point a girl walks into the forefront of the shot, and the picture slows down, while the sound follows suit and begins to fade into muffled silence. but then, the moment is gone, and the picture and sound resume their distinct paces. the whole scene almost sounds like we’re listening to it through a seashell. very subtly, the audio is not in sync with the ‘naturalness’ of the picture. what we hear is a heightened reality, a kind of unnatural natural. and there’s also the Beethoven wafting behind and in and out of the soundscape, which adds another ethereal layer to the mix.
the sound designer Leslie Shatz has been working with Van Sant for many years now, and is the sonic mastermind behind a lot of the audio work that goes into the films. even with Van Sant’s latest (and more mainstream) biopic ‘milk’ (2008 ), Shatz and the sound team ensured the audio plays an interesting and unique roll in the storytelling. granted the sound, and the picture as a whole, is a lot tamer and, so, more suitable for a popular audience; however, the filmmakers still incorporated some unconventional sonic techniques. for more on what the ‘milk’ team did, check out this Mix Magazine online article.
December 10, 2008
it’s the first of two new EP’s from Owen Pallett’s Final Fantasy moniker. sometimes i wonder if Pallett loves us or hates us, i mean his listeners. i think it’s a productive combination of the two. he seems to hate that his songs might be too palatable (pun intended) to a wide (read: popular) audience, and so he adds some dissonance and discord. this was most evident in his last FF work, “he poos clouds”, which took a very “dramatic” and despondent tone, musically and lyrically. and “spectrum, 14th century” definitely begins in this vein with the song “oh, spectrum”, unmelodious to an almost off-key effect (okay the bird chirps are beautiful). however, with the second track “blue imelda”, Pallett reconciles his/our anxiety and angst (at least acoustically) with a pleasing and assonant melody. it’s almost like he was smart enough to know that the first song would take the listener through a kind of acoustic bad dream, and the second song would lift her out of it and into an other worldly … fantasy.
Pallett is a fantastically proficient songwriter and performer; he knows song like most people know breath. so any criticism of his productions is forced to address his choices and his approach to the craft, rather than bringing into question his talent or abilities. and he’s also cute as a gay Canadian button, which i can’t say is such a bad thing. i look forward to his third full length album to be released in spring 2009.
as a side note, you’ve got to catch Pallett on tour as Final Fantasy; his live show is something of a minor miracle. he plays his violin into a loopback machine and builds his songs layer by layer. for one tour he had an artist friend of his on stage creating animations on an old school overhead projector.