“Making Waves” is a reminder of how much painstaking craft goes into a film’s every squeak and rumble
SILENT MOVIES were never silent. Cinema’s earliest pioneers may not have figured out how to synchronise moving pictures and recorded sound, but their films had audio accompaniment, whether from orchestras and organists or from percussionists adding gunshots and thunder. Sometimes actors would speak into microphones behind the screen so that films had talking in them even before they were “talkies”. In all sorts of ways, the industry acknowledged that visuals alone were not enough.
Other sonic pioneers included Orson Welles, who had a background in radio drama, and Alfred Hitchcock, who contrasted silence and sudden noise to build and release tension. Directors aside, it was a veteran sound-effect expert, Jack Foley, who jangled his keys to simulate the clank of the Romans’ armour in Stanley Kubrick’s “Spartacus” . The practice of recording specific noises for films was labelled “Foley” in his honour.
If cinematic sound has been a little more respected recently, “Making Waves” credits the change to a handful of innovators. The most important was Walter Murch, who collaborated with Francis Ford Coppola on “The Godfather” and “The Conversation”—a thriller all about sound recording.
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