Wednesday, July 30, 2008
Force-Cast: interview with Matthew Wood
Tuesday, July 29, 2008
Walter Murch: History of Editing
[part 2, part 3, part 4, part 5]
Wednesday, July 23, 2008
Pierre Henry: an hour walk
On occasion of its 19th edition, the festival invites you to share the intimacy of Pierre Henry’s house, the place where he lives and creates, for an hour of unique musical experience. After a monumental concert offered at the Parvis de la Défense in 2007 for Paris Quartier d’Eté, this summer Pierre Henry will open the doors of his house to the audience. Every day, thirteen people will enter in his “House of Sounds” to listen to his music and discover his pictorial universe. A new way to listen to the electronic music of Pierre Henry in a multitude of acoustics. It is a privilege to accept this invitation. More than that, a unique experience.
Tuesday, July 22, 2008
The giant posters are driving a unique campaign to promote a “silent” washing machine from AEG-Electrolux. Decibel meters are being installed in and around a number of the sites to monitor ambient noise levels. These are then connected remotely to LED screens embedded in the giant poster creative where the current decibel level will be displayed.
The decibel levels at each site location will also be fed to a campaign website (www.noiseawareness.co.uk) to allow users to compare noise levels in the five cities as well as find out more information on this issue.
Thursday, July 17, 2008
Ben, is it right you did the voice for E.T. as well?
I created the voice for E.T. out of many different things, about 18 different people and animals and sound effects. There are racoons in there, there are sea otters, there are some horses, there's a burp from my old cinema professor from USC (University of Southern California). There's my wife's laboured breathing asleep at night with a cold. I'll take sound from anywhere and use it if it'll get me the effect I want.
Is there any one sound of yours that's like a trademark that goes through most of the things you've done?
There are probably many little trademarks of sound. I don't think I consciously put things in. I used to put a scream in called the Wilhelm Scream which was in every movie I did but that was just a joke to impress another friend of mine named Richard Anderson. We were both students together and we both put that scream in all our movies to out do each other.
But then the public began to recognise that and there are cults now around the Wilhelm Scream. There's not a Wilhelm in WALL·E but there are other sounds. In every movie I think I've got bit of my grandfather's hand radio set. I recorded some electronic sounds, tuning stations, back 40 or 50 years ago. And I have used a bit of that Morse code, that side banding, short wave sound in some form in every film I've ever done.[read the interview - via BBC]
Wednesday, July 16, 2008
Ben Burtt: collecting sounds for years
[read the full interview - via timeout.com]
Monday, July 07, 2008
Mix Sound for Film Feature: WALL-E
"WALL•E" Sound for Film Profile with Ben Burtt from Michael Coleman on Vimeo.
[More robot vocalization via emusician.com]
Wednesday, July 02, 2008
I Speak Robot
Kurt Andersen talks to Burtt about the movie and the legendary sounds of his career.