So, I know I’m very late to the table. Obviously, as a Sound Designer I have huge respect for David Lynch. I think that he’s one of those people who manage to create art that only you think you ‘get’ but really it’s wide open to anyone who’s not just looking for things at face value.
With the new Series 3 airing, and me not having a job for two weeks while I move to London, I thought this would be the perfect time to start watching. So, after watching the feature length ‘Pilot’ I just wanted to write down a few notes on it, if not only for me to look back on for inspiration.
Sound Designer – Douglas Murray (Skywalker Sound)
Apparently, Skip Lievsay had already committed to another film at the time so Lievsay introduced Lynch to Douglas Murray. Of course, Lynch is known for being very involved with creating the sound design concepts so we still get all of the trademark sounds.
Mechanics, wind, thunder and drizzle. The general ambience is overcast, exposed to the elements, the rain soaked logs are manufactured through the whirring production lines of the mill. The ambience and frequent cut aways do a great job of continually setting the scene in this damp dark town.
Key sounds for me:
10:15 – The sound of the fire spitting back is perfect.
30:01 – My favourite editing trick. It’s a classic. Sudden cut to a contrasting sound and shot. And it’s done throughout. Here we go from the scene of the distressed mother in her home being nursed by the cops to heavy timber being machined in the mill. These are perfect for giving you a moment to reflect on what is happening, but whilst you do that, you’re ideas are being influenced by the relentless milling of nature and blaring mechanics.
41:40 – Fluorescent light flickering in the morgue – great idea.
50:37 – This was a stand out sound for me. The screeching of the polystyrene cup being stabbed with the pencil by the young girl perfectly sums up the actions that these adolescents are doing while not understanding the excruciating effects they have on other people.
1:16:50 – “Gimme a doughnut”
I often look back on my previous work and wish I’d was more brave with the faders. Lynch’s work always reminds me how far you can push up those key sounds in the mix and still remain “immersive”. It also reminds me that, to create good ambience, it’s the carefully selected elements that are added in, not whether it’s particularly true to the location. Use those cut aways and establishing shots to fill it with sounds that are relevant to the emotion you want to underpin. Another reason why sound should be considered right from the early stages of production.
Finally, have to mention Angelo Badalamenti and the amazing score. Especially the Noir Jazz pieces with their classic detective-film shuffle beat and the 60’s tremolo soaked Fender guitar sound, so cool. Makes me want to go to a roadhouse bar and play in a Doors cover band.
Jason Pinches 