Ludwig Goransson Quotes

I don't think we'll ever use the same sound techniques.

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

I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.

It's harder to make real audio than special effects audio.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!

We're so used to everything being properly manicured, like you can hear every footstep in a movie, you can hear every bit of dialogue, and everything is in its place.

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.

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

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 the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

I treat recorded tapes the way a film director treats his rushes.

There's been a great development with scale on TV, but my approach is always the same across projects, whether it's a video game, a movie, or a TV show: I always try to set up my sounds and my themes. I really try to stay with the characters and do the storytelling through the music.

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

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.

We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

I've got the recording process down, and I can knock it out very quickly.

Well, I've been recording myself on a computer since I was about 13 or 14. So it's completely entwined with my creative process. Essentially, it allows you to make music that's better and smarter than you are, by using your ears to lead the way.

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

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

Well, I think, I certainly used backward music in Sea of Monsters. I can't remember in the Sea of Time. I would tend to do that all the time, you know? I tended to do all sorts of weird things. Just to get effects.

I think one of the reasons that I got so good at it, as somebody making radio stories, is that on the radio I can actually - I can understand what's happening in the interview and can make a connection in a way that makes sense.