“The sound of waves crashing, water pounding, truck horns BLARING echo through her mind, getting LOUDER and LOUDER until…”
This post was written by Kalaisan Kalaichelvan.
A big part of being a film composer is looking for clues. Everything a film needs is already baked into its DNA, from the first written draft to the last locked cut. My job is to listen carefully, whether it’s a line of dialogue or a striking shot, from those clues, I have to extrapolate and build the sonic signature of the film.
When Zarrar and I had our first meeting about In Flames, we spoke very little about music. Instead, we talked about memory, our individual experiences in South Asia, the pervasive culture of misogyny in Karachi, the sensory overload of traffic, the smells from street vendors, and the sounds of batons and whistles from watchmen policing women in public. These were all clues. Potential places to start playing from.
Author: Guest Author
This article comes from No Film School and can be read on the original site.
