Sound Editing Quotes

After dubbing my lines for the first time, I'd say it's more difficult than performing in front of the camera.

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

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.

With digital technology there's a huge spectrum of flexibility in what you can do to manipulate sound and image - which you can push into a really artificial realm if you aren't careful.

I did a lot of screaming in 'The Originals,' and I hurt my voice so badly that I said, 'I can't scream if you want me to be able to work for, like, the next three days.' So, what I usually do is that I scream once in the season, and we'll just use that scream, all throughout, or extend it, or do whatever we need to do.

In between that time, I've done book narrating, you know, books on tape for Dove Audio.

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

I'm still amazed by the process of recording.

There's a lot of stuff you've gotta know about Auto-Tune before you can start using it, because it's the hot thing to do.

With modern recording techniques, and living in the Pro Tools era, the process gets really drawn-out, and it can become painstaking.

It's like swimmin' without warmin' up, yuo know what I mean? So [cackles] we use the drum machine, and we take it out.

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.

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.

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

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.

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.

When you do an animated movie - at least the ones that I've been a part of - you never see any of the other actors. It's all done separately with headphones in a voice booth.

In Evita I wasn't really hugely involved with it. I gave a little bit of help but they needed a bit of technical help on the movie and so some of my music people went in at the end of the movie and helped out with it.

My experience tells me that any time you hear people laughing on a sitcom, it's the writers who happen to be closest to the microphones - not the audience.

I've been on movies where I literally couldn't hear what the other actor was saying. It's very awkward.

I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.

I used to have a radio show. That's how I started foolin' around with recording.

Sometimes when it comes to music, effects or sound engineering, it is difficult to achieve what you want within a fixed time frame.

I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there. So I intentionally don't get involved with arranging stuff or fussing over the sounds and the edits and the beats too much, at least not in the beginning, because I feel like then you can fool yourself that you've got something there, when you might not.

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