Can we imagine the cinema as a giant sound machine, using image as a tool to refine sound, designed to recount the world? How are we to build this sound, knowing that it will be confronted with the visual setting? How can we manage to represent anything when the sound always overwhelms us? Capturing such unpredictable sounds during shooting involves so many uncertainties and so many difficult choices that many film-makers prefer to postpone it. “We’ll think about the sound later” has gradually taken on the form of a law. To understand what happens in current practice, we need to dismantle the standard protocols and conventions and consider other approaches to reconstruction.
These are but a few of the issues Daniel Deshays will discuss during the master class.