Sound Effects Quotes

For me, the sound design and the musical score is a big part of what makes scary movies work.

I can beatbox. Well, sort of. I have one beat that I can do, but people get fooled.

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.

I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff. It's the first thing I have to solidify whenever...I get into a character. The first thing I need to get sorted out before I can then move forward, before I can feel any confidence whatsoever, is the voice.

Radio dramas have disappeared. What we do have now is books on tape, which I find wonderful. I've done some of those. Otherwise, radio acting is now gone.

At the beginning of each project, I like to create a palette of sound for that particular project.

I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.

It's typical for video customers to often use licensed music - whether a soundtrack, background music, or sound effects - to complement their video projects.

I mostly do faces and sounds. That's what I do. Comedy doesn't have to be art.

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.

Where radio is different than fiction is that even mediocre fiction needs purpose, a driving question.

Voice acting is very creative, especially 'Star Wars' voice acting, because there's so much you have to imagine.

I want to make sound effects for biomes. If you're walking along a river you hear the water, then in the forest you hear birds, but as night comes in, it becomes kind of weird, you can walk through a desert, a swamp, and the sounds merge and change with you.

I got a great kick being in the Warner Bros. studios - that was really cool. I kept singing the 'Looney Tunes' theme song all day. I'm sure they haven't heard that one before.

When I was on 'Xena,' I remember the sound guy and the director at some point being like, you have to make sounds when you fight, and I was like, what are you talking about? You're never going to use it. But they hounded me for a good couple of hours, and basically it was, you need to act, you can't just perform the moves.

To make harmonics scream, I first dump my Floyd Rose real quick, hit a harmonic with my left hand while the string is still flapping, and then use the bar to pull it up to the pitch I wanna hit.

There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.

As a film composer I deal with short bursts of musical ideas that are defined to a large extent by what's happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects.

One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.

I do a mean mouth trumpet.

I did know that I could do scream very well. When I was in high school, I got a very strange job one Halloween filming screams for a radio station. I would just go into a soundstage and scream and scream and scream, and everybody would put on ear plugs, so I had an inkling.

I did radio back in the era when we did radio drama.

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.

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.

I've always said if I had to pinpoint what's more important in a scary movie, the soundscape or the visuals, I'd pick the sound.