Reed Morano Quotes

I've always been a bit of a sound freak in the movies I've done.

I'm really into the way sound works in film, and I did a little bit of sound design for theater in college.

The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.

Aame' is a new attempt. The entire film was shot using live sound technique.

Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension.

There are a lot of similarities with film and TV, but also a lot of differences, especially in the way they film stuff.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

My dad's a sound designer, and he used to take me to work with him.

Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story.

However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

We'd dub the one that came off best into the final transcription. It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product.

We all know that much of what we hear in life is not really so. Canned laughter and 'sweetened' applause have been TV staples for decades, and all the slamming doors, breaking glass and squealing tires you hear in movies are sound effects.

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.

I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.

I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.

There's a lot of electronic surround-sound music, and I've done a lot of work where I write music for other people to move around a space.

With a huge storm, you need a lot of volume, but it can't become one loud noise. Dolby Atmos helped a lot because it gave us the separation of those elements.

I have been dubbing since 2006.

As far as animatronics, I started out in college working for Tom Holman. He was the inventor of the THX sound system. Through him, I got an internship at Lucasfilm.

The first time I experimented with sound design was on 'Fruitvale Station,' where I recorded the BART train and manipulated it.

I worked for some of the major productions and did many jingles and voiceovers.

My interests are moving toward both 'sound and music,' not just 'music.' I have been doing lots of field recordings and also collecting lots of strange sounds.

TTS was the unit that I was directly involved with the productions, and I'm still really, really proud of what we had put together, not just visually but musically at that time and age.