34

MUSIC AND SOUND EFFECTS FONT

THE FIRST THING WE DONE WAS TO FIND DRAMATIC MUSIC FOR THE SCENE WHERE MY CHARACTER FIRST APPEARS. WE FOUND THE PERFECT AUDIO. WE HAD TO MAKE SURE THE MUSIC WAS HEARD  AS SOON AS  RAK CAME ON. WE DIDN’T WANT A JUMPY MUSIC CUT. WE DECIDED TO FADE THE MUSIC OUT AND BRING THE PIRATE FAIRY MUSIC BACK IN WHEN A SENSE OF GOODNESS WAS MADE PRESENT IN THE FILM. THIS WAS DURING THE SUBWAY SCENE IN WHICH RAK WAS MADE TO APPEAR HOPELESS.

WE ALSO INCLUDED A DRASTIC MUSIC CHANGE IN THE FOREST SCENE. AS SOON AS AN IMAGINE WEREWOLF SOUND IS HEARD, WE PLACED A DARK, TWISTED SOUND IN WHICH SORT OF HAD THESE WEIRD TECHNO BEATS. AS THE EVENTS THAT TOOK PLACE AFTER THIS WERE EXTREMELY UNEASY AND UNCOMFORTABLE, WE WANTED THE MUSIC TO REFLECT THAT ALSO. THE PACE OF THE MUSIC WAS ALSO QUITE FAST IN COMPARISON TO THE ‘SOLITUDE’ MUSIC. OUR INTENTION WAS TO INCREASE THE AUDIENCE’S ADRENALINE AND MAKE ON THEIR EDGE OF THE SEAT.THE MUSIC CARRIED ONTO THE RAPE SCENE AND WE THOUGHT IT FIT REALLY WELL. HOWEVER, ON ONE OF THE FINAL EDITING SESSIONS WE WANTED TO MAKE SOME ALTERATIONS TO IT. WE OVERLAPPED THE MUSIC PIECE WITH AN EMOTIONAL MUSIC PIECE. WE FADED IT IN SLOWLY AND MADE SURE IT BEGAN TO PLAY WHEN THEY WERE CLOSE UPS OF EMILY. THE COMBINATION OF MUSIC REFLECTS THE EMOTIONS WE WANT THE AUDIENCE TO FEEL. WE WANT THEM TO FEEL TENSE AND UNCOMFORTABLE BUT SYMPATHETIC FOR EMILY ALSO.

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WE WENT TO THE START OF THE FILM AND FOUND THAT THERE WAS A SEVERE  COMPLICATION WITH SOME DIEGETIC SOUNDS IN THE DEFINITION SCENE. THERE WAS AN AEROPLANE SOUND. WE THOUGHT WE HAD SORTED IT OUT BUT IT STILL POSED TO BE A PROBLEM. WE COULDN’T SPLIT THE SCENE DUE TO THE MUSIC WE PUT IN. WHAT WE DID IS USE THE SOUND EFFECTS OF SEVERAL BIRDS TO HOPEFULLY CANCEL OUT THE SOUND BUT TO MAKE IT ALSO MORE FOREST AND FANTASY LIKE

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