As January see’s TWO TICKET’s London city premeire at The London Short Film Festival. I’ve coincided my excitement with an emphasis on the soundtrack.
The audible world for the film, is aesthetically, one of the most important themes of the project. Bringing Brandon onboard to help me achieve this was a huge bonus. Whilst I’m the eyes of a project, Brandon is most definitely the ears. With a body of work, enviable to most, his experience and experimentation in the sound field is second to none.
Most of my film work, whether narrative or experimental, likes to mix mediums. I want my film worlds to give as much of an experience, as anything. And TWO TICKETS is no different. Although, it’s one of the most narrative examples of my practise to date, any viewer will pick up on the textural, hands on themes to the film. The world degrades in front of your eyes, and I longed for layers, of depth, and decay,
I am a DIY queen when I need to be, and the soundtrack needed to reflect the lo-fi I’m accustomed to. Brandon is a sound designer like no other I’ve experienced. I often delve into the sound world myself, a lot of the foley in the film, is me in my kitchen with a Tascam.. but technically, and diagetically, I just can’t hold my own when the pressure hits. Wheras, on the flip side, I can describe a type of sound to Brandon, a quality even, and a couple of hours later, left to his own devices, and Brandon can emerge from his studio with a hand-recorded, one-off piece of film genius.
The audible world created on this project, it it’s own entity, it tells the story through song and instrumental. The bookended cinema jingle, titled “It’s fun to eat’ gives off all the funtime feels, of going to the cinema, it’s the glossiness of the Hollywood era, an ode to a time of theatrical concentration.
Moving on, and the lyrical story of Track Two, SCREEN ONE reflects our female screen siron’s persona through the air of a double-edged sword. Reflective of a pop culture dream, and the main track to the movie.
The most experimental track is probably Track 3. Fluorescent Pink. Set inside the penultimate scene, of the girl’s toilets. I knew how this scene should feel from the moment of the first draft. I could see it, I could hear it. There are many layers to this scene in the film, and no spoilers here, but the audio needed to dig just that little bit deeper. Lo-fi aesthetics a go-go. Lights, camera… DIY.
Lastly, probably my personal favourite of the ‘track, is Theme 4. Life isn’t a movie. Now a tagline for the film, it’s very essence, reflects a world I’ve strived towards since childhood. It’s a film within a film, within a film, within a film… It’s what it’s all about.