We could do some in the studio with a boom mic, some of the ADR was done remotely and we had to gather all of that through the devices. We’re a SAG-AFTRA certified studio, but there’s still the fact of some actors who were apprehensive about coming in to redo their lines. We recorded some of the stuff through the devices during production, and some of the stuff had to be done after the fact. We wanted to create disembodiment so that you could hear that we are separated. We wanted to make it sound different and not make it tricky to hear. King: Everyone was on a different device whether it was an iPhone, a tablet or a Ring device. How did you capture that sound of isolation, which is technology – those phone calls and Zoom conversations? The birds and minutiae of everyday life gave it a different flavor. Some of them are just odd to hear on their own. And whether you’re aware of it or not, it’s, it’s nice to hear those things. Usually, there’s a cacophony of sounds where everything gets lost, so the detail in each of the scenes stands out. John-Thomas Graves: It was great to have the sound of isolation because you would never hear these sounds in the detail that you do in a situation like this. So, when you hear them, it felt more severe. The one sound we did keep and add were the sounds of authority, like helicopters and sirens to give that feeling of lockdown and the enforcement which was more severe and militarized in the movie. and by getting rid of those normal sounds made the foundation light. King: It’s this juxtaposition of getting rid of the normal traffic and industrial noises you hear in L.A. I thought it was better to have genuine Los Angeles lockdown recordings rather than faking it with countryside recordings. I went out and recorded birds because you would never hear these birds this clearly in town. We pulled recordings from different parts of the world just to give it that slightly kind of weird and disconcerting, more natural feel to it and it created this cool vibe. We used more exotic birds than you would ever have in L.A. The whole atmospheric soundscape of the film is very much wild packs of coyotes. because there are usually people honking at one another, traffic, car crashes and car alarms. It’s completely counter to any other film you would have set in L.A. There was no traffic and we didn’t want to add any to the film. When we talked with Adam over Zoom about our first remote spotting session, L.A. There are these weird nature sounds that is atypical for Los Angeles. Earlier this year, it was the sound of squirrels. That’s the third or fourth weird animal resurgence that we’ve had in my neighborhood so far this year. Greasley: I was remarking in my neighborhood that the whole area seems to be currently taken over by crows. In terms of the soundscape, the pandemic has changed dramatically, what was the pandemic sound to you? Jon Greasley: It got shut down before they started filming, but that got resolved before the initial shoot date. That’s the thing, this hadn’t been done before, so you were making it up as you went along, and the production did get shut down for a day or two, didn’t it?
Songbird 2020 film movie#
Health department step in? Is the union going to step in? We didn’t know if we were even going to get this movie made. We didn’t know if anyone was going to get sick. As far as filmmaking, it was brand new territory. We were still getting our feet wet as a society when it came to COVID.
The more unknowns there were, the better. He asked if we were interested based on all those unknowns, and of course, we were. We’re going to be the first production that’s going to try and shoot during COVID, we’re not quite sure how we’re going to do it, but we’re going to try and get it shot in 17 days.’ He said, ‘I’ve got this great project that’s got these great people involved. In the opening scene of the movie with the voices from around the world, the idea was to make sure as much of that was shown as possible.Īs far as the workflow, the producer Jason Clark and we had worked together on “Cosmos: A Spacetime Odyssey,” he was the one who called us. Gregory King: We wanted to get the message that there was a pandemic happening. With the lockdown, the soundscape of Los Angeles has changed so much from traffic to planes to even birds, so what did you discuss with Michael and Adam about what this would sound like?
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