This year, a handful of films enrolled for the best pictures are included in heavy music themes. A complete unknown. The film, which charts the rise of a young Bob Dylan, has 40 songs – but the opposite Wicked And Emilia Perez, Do not call it a music.
According to the Oscar-Namikh team behind the sonic element of the film, the film has its own character. Ted Capulan, Donald Sylvester, Todd Matraland and David Giammarko spoke with Yahoo Entertainment how they reached the complex and unusual sound of the film.
This interview is edited for length and clarity.
Something that hit me about me A complete unknown Before I saw how nervous Bob Dylan’s fans were nervous for this. Some either did not want it to exist or strictly wanted it to be as accurate as possible. How did all of you, as the sound team, attacked the balance between authenticity and to create something new?
Ted Capulan: I think the guiding principle was not to re -build or reunite his life. What was happening to Bob, was to be obtained in this way. From the perspective of a sound, all this is about authenticity. It is not that we did not try and gloss it, but we did not try to make the world it.
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Donald Sylvester: I will be honest with you – many of these things were really factual in the sense that no one knows what was really happened when they were not in the room when Dylan first “blows in the air” with Joan Bose ” Was sung. But this is a very good idea what happened. We kept reminding ourselves that we are not making a documentary.
How did you make those concerts and live performances so authentic for the time period?
Todd Matland: We excluded the 42 period microphone and put them in a chronological order in the film, as the microphones were changing very fast at that time. Every year they became a little better.
Caplan: This is as true as possible for the sound of time Very True, because things now look better. We want modern technology to have a vintage recording texture.
David giammarco: We wanted to keep the audience of the film in a place where they feel that they can be in a concert, by crowding around them and activating the crowd so that the dialon was happening on the stage.
Sylvester: People in the crowd – in cafes, on the streets and parties – were actually impressive for Bob himself. He heard them. He saw them. He reacted directly to them. He was a character in that film. There are many people who are nameless and faceless, but they are talking to Bob, and they are listening to them.
Caplan: It was really important to us that we just say, “There is a performance here!” And everyone becomes silent. The film is about the dialogue between Bob and the world – how they are playing with each other. This is not a music. It is a drama with music. This is a real difference for this film that makes it unique.
Sylvester: People in our crowd “Gruvi, man!” And other things that seem very stupid today, but in terms of the film’s deadline, “from far out!” Works We had to remove all “Vups” because the members of the audience did not know that people were not saying so.
I Talked to Timothy Chalmet And Monica Berbaro, who plays the role of dyelon and badges, how she had to learn to sing for this film. What is the fact that they were new to affect your process?
Caplan: When he presented all these songs, I could tell what Timmy had. The real production recording was at the second level. And when you are feeling relieved because you do not want to go in and do everything. You are doing something that is fantastic rather than fixing something.
Matland: When I was looking at Timmy in rehearsal, I saw that he kept the guitar in the same way as Bob, which is high on his body. Generally, we will simply put a luxury microphone on it, but the way they held their guitar denying the ability to do so. So I told him in rehearsal that the way we will be able to catch his tone during these acoustic pieces without a microphone performing in the shot, a mic wire through his hair. This was a bit confident to her and the hair department, but we ended it about 14 times.
Edward Norton and Timothy Chalmet in A complete unknown(Courtesy of Searchlight Pictures/Aware Collection)
How did you design the sound of New York City at that time?
Caplan: Bob’s first arrival on McDogal Street (in 1961) is very important, because even though it is subtle, it is showing what is seductive to Bob. It is the entrance to the universe in which he wants to be – and it is not just folk music. It is an exciting smorgusboard of a sonic universe that is inviting, and it is unlike the universe that he feels on the same road in 1965, where music is repressive and not invited.
Sylvester: I needed background actors, who had knowledge of New Yors and they are not afraid to talk to someone they do not even know.
Matland: It was not a normal film. Generally in a film, you clean the dialogue without any music. But (director James Mongold) decided that every piece was going to have a sound, including the scene, where (a TV shows a walter chronicite) about the Cuban missile crisis. We created a soundtrack with sirens and people and shouting that we pump into the set to give energy to the actors to help them feel that they were actually in the middle. We filmed the 1965 Newport Folk Festival scene, such as it was a concert, which was filming in a continuous 23 -minute tech with more than 40 microphones.
Timothy Chalmet and Monica Berbaro in A complete unknown(Courtesy of Searchlight Pictures/Aware Collection)
Finally that explosive moment when the dylan plugs into his guitar and goes electric, a lot for the lamp of fans of folk music around him – what was that shift from a sound perspective?
Caplan: If you make it vigorously, you will attack the film audience, which we do not want to do. Paul Massey worked to make his magic more energy, felt very loudly. This mixture is a subtle magic of the process.
Sylvester: We deliberately made it a vigorous film, but it is not a constant fast film such as when you put a lobster in a pot and it is boiling. You do not know that this is happening loud and loud. At the beginning of production, we held a discussion with a (production company) searchlight, where they said that they advise some levels. And we said that no, we are not really going to limit it, because the theater never really play as loud as you make.
Along with this, I know that the best place to watch this film is possible on the largest screen, but it is on the video on demand on 25 February. Can any people at home do to re -create that experience?
Giammarco: play it Loud!
