“Every time I hear sounds, I see pictures. Then, I start getting ideas. It just drives me crazy” (Lynch in http://www.geocities)
“Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.” (Lynch in http://www.lynchnet…monster) So goes David Lynch’s philosophy of films, and there is nowhere this belief is applied more wholeheartedly than in the films of David Lynch. Ever since Eraserhead (1977) assaulted peoples awareness of imagery and sound in films, Lynch has endeavoured to provide some of the most visually and sonically engaging movies over the last twenty five years. The journalist Sam Molineaux wrote of Lynch’s grasp for sound and image thus, “It’s as if the abstract nature of music reinforces Lynch’s deliberately ambiguous storytelling approach; yet the music’s rhythms and phrases seem to precisely prescribe the mood he’s aiming for.” (Molineaux in http://www.rolandus)
When me and Johanna did the sound design for Deathbed we aimed at creating a unique audio-visual feast that combines both the dream sequence with the real event and also to create both symbolisms and motifs (as much as possible in 3 min film). Therefore we started and ended the short film with a similar “tune”. On set we recorded all sounds possible such as the purse, the curtains of the canopy moving, the heels and even Graham moving about in the bed. For some kind of sound/tune we recorded piano strings in order to create a unique yet disturbing overall feel/ atmosphere. Therefore because we recorded everything we didn’t use Protools what so ever.
For inspiration we didn’t just use ‘Lynchian’ films but also a really interesting ( especially for sound design) film called ‘Spirits of the Beehive’ a 1973 Spanish drama film directed by Víctor Erice. The film was Erice’s debut and is considered a masterpiece of Spanish cinema. The film had a very settle sound design that was spot on for creating a pleasant audio visual experience for the viewer.