Process
Sound
If the sound design is done well, no one notices it. Perhaps one of the most under-appreciated elements of a film, we knew that the film would hinge not only on the use of sound but on the absence of. Part of the challenge of working on the film was the minimal dialogue. As one of the most powerful ways of revealing information and developing character, we forced ourselves into the position of devising other ways to use sound design and music to tell our story.
We delved into the world of Foley (sound effects); using everyday objects to record our sounds. For example, we used the breaking of celery to imitate the breaking of a chair. Not only did paying attention to the process of creating sound influence how we used it, but we accessed a level of detail and intimacy that we only could have discovered from creating it ourselves. Part of the reward was our knowledge that we had taken the time to experiment, finding innovative and often bizarre ways to manipulate objects to make what we hear in our heads a reality.
Music
Music was the final piece to complete the film. The orchestral score would be a translation of the emotions of the character as much as the emotions of the artists. The soundtrack would need to convey pain and struggle, but at the same offer hope. Yet we are acutely aware of the power we had to manipulate the audience – as one of the most powerful ways of evoking emotion, music can almost tell you how to feel. Discovering how music could be used to create an atmosphere and add new layers to the film became our goal, still keeping in mind throughout that sometimes, heart pounding intense moments don't need raging drums and a booming base; there are prestige and elegance to silence.
Composing the soundtrack:
"I started by looking at the visual aesthetic and took stills I liked from other films to create a mood board. I did something similar with the audio. I took 6 or 7 soundtracks that I liked that worked for the tone. I used soundtracks from Logan, Enemy, and Prisoners, all psychological dramas with similar orchestral scores. This gave me an idea of how melodies work, and how to create long tension. I then gave myself a one-week crash course in music theory. I would often have a melody in my head and I would have to record myself humming it to remember.
One of the most exciting parts of the process was playing around in GarageBand. I started to create "Curtain Call" the song for the end credits, and then I worked backward to create the other music. I had to create music that would convey the emotions and thoughts of Man in place of dialogue. I used motifs in "Curtain Call" as starting places for other songs, sometimes staying up until 3 am to find the best sound." – Eli
Overall Process
PREPRODUCTION: We couldn’t wait to get on set and actually start to discover what story we want to tell and how we want to tell it.
CHARACTER: When reading the script we did not picture anyone in the starring role, we didn’t picture physique or personality. Knew that the role would be demanding, to express deep and dark emotions through facial expression and body language. We had an understanding of the character’s arc but didn’t know about the mannerisms, small things that make the character what he is.
"I could tell this was going to happen when Eli comes with a story with a character who has such an emotional rollercoaster in such a short time," –Gaby.
No matter how small connection, if you’re passionate about an idea, it is infectious – people are on your side. People who you might not even be super close to will come together if you are passionate about your vision. When we needed you on this day around this time… other people would say, "ya sure, I’ll be there!"
Never be afraid to ask, it’s indescribable, how people will give up their time to help you make something great.
PRODUCTION = Sheldon brought new levels to the script and character and he treated the character so carefully. Beyond that, he was so willing to collaborate – "he would ask Eli what he wanted in the scene, and they would discuss different ideas and shots. There was a mutual trust between them, where Sheldon took Eli's directions, and Eli trusted Sheldon to portray this character he had created. It was incredible to watch on set" – Gaby.
Festivals
"We believe in this film. As much as we made it to learn and experiment, and enjoy, and discover things about ourselves, we want to share it with the world. Film festivals are a platform for people who love film to come together. Our story is important on a universal scale, it's about fundamental human conflicts and qualities. This is something that gives us life. You never know where an opportunity might be. Maybe this is it… If someone out there sees our film and becomes inspired to make their own, we’ve done it." –Eli