wildsound feedback film festival – Page 9

Interview with Filmmaker William Mussini (F**KING WORLD)

The short film F**KING WORLD is a must see 1 minute blast. It hits on a lot of emotions that many of us are feelings, plus it’s really funny. William Mussini’s film played to rave reviews at the WILDsound FEEDBACK January 2016 Film Festival.

Interview with filmmaker Jordan Inconstant (YO SOY PEDRO)

I was very surprised! There is no other festival that offers this, it’s great! To see the public reaction and to take part in the festival. There was a little debate about the fact that the film was shot in French while the atmosphere is American, it was interesting. This has pleased all the film crew, Sylvain Ott, composer joins me in thanking you for the price of the best music.

Interview with Animator Matt Burniston (The Mega Plush – Winner Best Film January 2016 Film Festival)

I loved it. It was a totally new experience for me. I’ve obviously shown the film to a lot of friends and people I meet, and it is great to see their reaction as they watch the film. But having people who know about film talk about and comment on your work is something very different. The fact that the audience picked up on some of the small details about the characters & story line gives me a renewed devotion to finish up the series.

Interview with filmmaker Hani Eskander (OH MY OH AGAMI)

Here are actual people, physically there, physically commenting and reacting to something I had created earlier at home, almost alone. I loved what most had to say and I cannot descrivbe how happy it makes any filmmaker I’m sure, to watch audience feeling and reacting to the film he/she helped create. It’s a very reassuring feeling… that film is powerful… it DOES transcend space and time and gets a message and an emotion through very well.

Interview with Screenwriter Bruna Rubio (VAMPIRAS)

I love the first girl totally got my original idea of Vampiras been a TV series 🙂 The porn part was also funny. ..you have to understand that Spanish TV it’s always a little cheese lol .Also that was my intention … to have the old school vampire formula… of dark comedy mixed with surprises and a little bit of sexy.

Interview with filmmaker Sam Brewster (Misstep)

I really appreciated the empathy that the audience had with the morality of the tale, so I’m glad that I got that across in the film. It’s by far my least divisive story, so I think it is more palatable than some of my other shorts, where the protagonist rarely learns a lesson.

Interview with Foley Artist Marko Costanzo (Silence of the Lambs, The Departed, Life of Pi)

You need to be a good listener. We work for editors. Editors have different criterion for each show we work on. Some like it big and over the top. some like it subtle and more realistic. Each time a different foley editor would come into the room to supervise the recording, I would walk away with a better understanding about how things should sound. It’s important to gain the trust of your editors and listen to what they have to say. When they want something heavier you need to understand what they mean. Does heavier mean louder? Bigger? It’s a subjective art with lots of possible variations. It’s important to do things the way the client intends for it to be heard.

Interview with Art Director Jeremy Woolsey (Pitch Perfect, Million Dollar Arm, Dirty Grandpa)

You’ve worked in the Art Department in over 40 productions in the last 10 years. Is there one or two films that you’re most proud of?

I am proud to be a part of the runaway hit
“Pitch Perfect” .. That film has touched a great deal of people. And I think our work on “Million Dollar Arm” was rewarding.

Interview with Kami Asgar, Oscar Nominated Sound Editor

Everything used to be a lot more time consuming and cumbersome.
As an example you had to go down to the sound library and search through reels of sound fx (later CDs) armed with a notebook looking for one sound effect. You usually picked the first one you found, took it back to your room, and sampled it in to the computer and synchronized it to the picture and went to the next effect and the repeated the cycle. since you could only do very short sequences because of lack of computer memory, you laid back to tape and hand wrote (legibly) each event on a cue sheet for the mixer.

Now you audition sounds from your database of hundreds of thousands of sound effects available to you remotely and pick just the right sound, and if you want to alter the sound, you have at your disposal a dizzying amount of plug-ins to change every aspect of your sound to fit the picture. You then upload it for the mixer to open in his session. (no more carrying reels and reels to the stage)

Interview with Glen Gauthier, Sound Mixer (Spotlight, Pacific Rim, Kick-Ass)

Whenever I tech scout a location I am always looking for what may effect the sound track, and if so whether or not the audience will be distracted by it. For example, traffic noise is easier to accept if you can SEE it. It’s much harder to accept extraneous noise if you have no idea where it’s coming from. Transformers and hum from lights is also a concern; you want control over heat/AC and traffic control if possible! There are many variables to consider. So, my advice is to pay attention; especially to what’s hidden. Consider what’s behind locked doors, above you and below you. Some things you won’t hear until you have a quiet room and the microphone is cranked up.