Friday, 20 March 2009
Working with sound on this project is really important because it's the bedrock of the work. We took a series of lots of sound effects (frogs croaking, squeaky rubber shoes, water hissing on a hotplate, mobile phone interference) and gave them to the audio-visual synaesthetes to comment on. What did they see with the sound? How did it move? What colour was it EXACTLY? What was the texture like?
Some of them have taste or touch synaesthesia too so we would sometimes go off into other senses "it's lovely .. I can taste it in my mouth.." which really threw me! To them it's all part of the same experience whilst I'm wrestling with getting my head round the basics.
We recorded their responses to the sounds, and also interviewed them about what it's like to have synaesthesia. I then took that recorded material to the composer to try and turn it all into a coherent film sound track, before animating to it.
I have worked with composer Adam Goddard for two previous projects and we have reached an understanding about the ways in which we both work. I always find it really interesting working with sound artists; in theory you share the same creativity but in reality you have totally different ways of expressing it and there can be less common ground than you'd think.
Anyway, he's just sent me the newest version of the middle section of the film and it's completely wonderful so I'm all cheery. He uses some static and describes it as "warm and cottony". I'm not sure if it's working on this project or if we have unearthed some latent synaesthetic tendencies .. hmm.