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Sound Effects Quotes

Browse 20 quotes about Sound Effects.

Sound Effects Quotes

“Usually, after the lion came the leopard and sometimes the buzz of the tsetse fly. These were easily obtained effects; and I explained to M. de Chagny that Erik imitated the roar of a lion on a long tabour or timbrel, with an ass's skin at one end. Over this skin he tied a string of catgut, which was fastened at the middle to another similar string passing through the whole length of the tabour. Erik had only to rub this string with a glove smeared with resin and, according to the manner in which he rubbed it, he imitated to perfection the voice of the lion or the leopard, or even the buzzing of the tsetse fly.”

“The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.”

“Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.”

“Halloween is huge in my house and we really get into the 'spirits' of things. A few years back, my wife was frustrated with the same old stupid sound effects tape we would play, which ends with the theme from 'Ghostbusters' and 'Monster Mash'. I told her that Halloween is way too cool a holiday to suffer through this every year.”

“I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.”

“I think that when you're writing plays, and I think it's also true with novels, it helps to have an ear for the music of language, for what we call poetry, for the sound effects and the way that the sound can produce sensual feeling at odds with or consonant with the content of the work. Your work is also gorgeous writing. It's very unfortunate when you open a novel that everybody's loving and it's just, you know, an excruciatingly bad sentence.”

“There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.”

“A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.”