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VOICE OVER:

 voiceover text

^ THESE ARE  TWO OF THE VOICE-OVER CLIPS THAT EMILY HAD SENT US. WE HAD DECIDED TO USE THE SECOND ONE AS THE FIRST ONE LACKED THE MYSTERIOUS ASPECT WHICH WE WANTED TO BE INSINUATED THROUGH HER VOICE. THE SECOND FITS PERFECTLY AS IT HAS AN ELEMENT OF MYSTERY BUT SHE HAS A STEADY TONE IN HER VOICE, WHICH MAKES IT SEEM LIKE SHE’S ACTUALLY READING A DIARY NOTE.

^ THIS WAS A PRACTICE VOICE-OVER CLIP THAT EMILY SENT US. AT FIRST, WE THOUGHT IT WAS THE PERFECT CLIP BUT THEN AFTER REPEATEDLY HEARING IT , WE REALISED SHE SPOKE TOO QUICKLY AND SHE DIDN’T HESITATE AS SHE SPOKE. WE WANTED HER TO TAKE BREATHS AND NOT SPEAK SO LOUDLY. FORTUNATELY, SHE SENT US ANOTHER CLIP, WHICH DONE EXACTLY WHAT WE HAD WANTED. WE ALSO CUT THE BIT IN WHICH SHE SAYS, “AM I NOT REAL? IS MY LIFE OVER?” WE IMMEDIATELY THOUGHT IT WOULDN’T BE APPROPRIATE TO USE IT AND THAT IT WOULD ACTUALLY BREAK OFF THE SUSPENSEFUL ATMOSPHERE.

^ THESE ARE THE VOICE-OVER CLIPS EMILY SENT FOR US, FOR WHEN HER CHARACTER WAKES UP IN THE FOREST. WHEN I WAS WRITING THE SCRIPT, I DIDN’T WANT TO WRITE SOMETHING PREDICTABLE LIKE, “HELP ME, I’M SO SCARED”. I STILL HOWEVER MADE IT SUITABLE  TO THE SCENE. WE ASKED EMILY TO FILM SEVERAL LINES BUT WE ALWAYS BARED IN MIND THAT WE CAN SPLIT THE WORDS OR JUST BLADE IT WHERE SOMETHING WASN’T NEEDED. WE BLADED THE PART WHEN SHE SAYS, “I JUST DON’T KNOW”. WE DIDN’T USE THIS PART BECAUSE WE FELT IT WOULD OF RUINED THE AMBIENCE AND IT SOUNDED LIKE MY FRIEND DIDN’T KNOW WHAT TO SAY. WHEN I HEARD THE FIRST RECORDING, I INTERNALLY CRIED BECAUSE SHE SEEMED LIKE A LA VALLEY GIRL. IT WAS OBVIOUSLY JUST A PRACTICE RECORDING.

MUSIC:

text

music 1

^ WE ONLY USED THIS MUSIC FOR THE INTRODUCTION AND BEGINNING TITLES. WE FELT IT WAS APPROPRIATE BECAUSE THE HARPS USED IN IT MADE IT APPEAR FANTASY LIKE BUT THERE WAS STILL SOME TENSION WITHIN THE MUSIC. THE MUSIC WAS NOT TOO TENSE AS THAT IT NOT THE PURPOSE OF THE TITLES. WHAT WE ALL LIKED WAS  AS THE TITLES APPEAR, THE MUSIC BECOMES EVEN MORE DRAMATIC, WHICH IS WHAT WE DEFINITELY WANTED. AS SOON AS THE TITLES FINISHED AND THE NEXT SCENE APPEARED WE HAD TO CREATE A SOUND BRIDGE IN ORDER TO MAKE THE SOUND FLOW MORE SMOOTH AND TO ALSO TO ACT AS A TRANSITION BETWEEN THIS MUSIC AND THE NEXT. IN ORDER TO DO THIS, WE HAD TO CLICK ON THE AUDIO FILE AND PULL ON THE TABS. WE ALSO MADE A COMPOUND CLIP AS THAT WOULD MAKE IT EASIER FOR US IMPORT MUSIC ON AND SEE IT AS A WHOLE. IF NEED BE, WE WOULD CLIP ON THE COMPOUND CLIP, CLICK ON AN INDIVIDUAL SHOT AND MUTE THE SOUND IF AEROPLANE SOUNDS COULD BE HEARD.

music 2

^ THE NEXT MUSIC WE USED WAS VERY SIMILAR TO THE FIRST ONE BUT IT WAS MORE SUBTLE. IT DIDN’T HAVE A DARK FEEL TO IT, WHICH WAS SOMETHING THE FIRST MUSIC HAD. WE WANTED TO REITERATE THAT OUR FILM IS NOT A THRILLER SO FAST PACED/ SCARY MUSIC WOULDN’T HAVE FITTED. A SLIGHT ISSUE WAS WITH THIS MUSIC, AFTER 30 SECONDS, IT STARTED TO CHANGE AND WE LIKED THE FIRST 30 SECONDS, SO WHAT I HAD TO DO WAS BLADE IT AFTER 30 SECONDS AND THEN MAKE SEVERAL COPIES UNTIL THE RED RIDING HOOD SCENES. WHAT THIS DID WAS THAT IT CREATED A LOOP. I DID LOWER THE VOLUME OF IT IN THE SUBWAY SCENES SO THE DIALOGUE COULD BE HEARD.

WE USED THIS MUSIC FOR THE SCENE IN WHICH EMILY WAKES UP IN THE FOREST AS RED RIDING HOOD. THE NAME OF THE SONG ITSELF, ‘SOLITUDE’ SORT OF ENTAILS THE THEME OF THE SCENE. SHE WAKES UP IN THE FOREST ALONE, SCARED AND THESE ARE THE EMOTIONS THAT HAVE BEEN INTESNIFIED THROUGH THE MUSIC. THE INSTRUMENT USED IN THE MUSIC IS A PIANO. WHAT I ENJOYED ABOUT THIS MUSIC WAS THAT IT WASN’T BLAND. IT HAD THIS MYSTERY ELEMENT TO IT WHICH WAS PERFECT FOR OUR FILM.

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