Things that I learned while editing:
My dear (facebook) friend Monte Hellman says “Perfection is not when you’ve added everything you can add, but when you’ve taken away everything you can take away.” I keep thinking I’m done taking away, but find more to take.
I love constructed sound. Recording foley with Holland was a blast. Tickling tin foil with a frayed end of rope for the sound of a flourescent bub. It’s a slog getting all of those sounds in place in final cut though. We competely soundscaped the window-opening scene. No-one would ever believ what it really sounded like in there it was so windy. I like how it is now: you hear the “clink clink” of the stick she’s using, and the sound of the windows opening, and the wind. But you don’t hear her body! It’s wierd and I like it.
I also like a cut that introduces layers of sounds at different times, so on some level, you’re conscious of its construction. How could it be “real” when, first you hear her hands moving, THEN you hear the wind below that?
I love surprises: the portal window in the door looks like the moon and the sound is f**cking LOUD. Then you see what it really is.
Holland says I have “temp track-itis” and it’s true. It’s hard for me to pull out any “temp” tracks I’ve gotten used to. They sound right now. Spent a lot of time with Holland weeding out room tones that the sound mix guys added. Should be simpler I think. Every time I hear a library sound in there that they added -anything we didn’t record — I feel like the aliens in “Bodysnatchers” I just feel like pointing my finger at the speakers and screeching.
I DO feel like we made a musique concrete piece.