Your new movie A Bad Luck Guy in a Bad Luck Town
- in a few words, what is it about?
Funny, dark, slightly disgusting in a good way!
How did you approach your story at hand, sound-wise, and how much
artistic freedom did you have on the movie?
the film the first time with what sound it did have, I knew it was going
to be a fun process because there were possibilities for a good amount of effects that
would need to be recorded. I asked everyone (Justine, Kyle, and
Metro) what they really wanted from the soundtrack and we went back and
forth with samples. It was a very fun collaborative process and I
felt like we all had artistic freedom. There are was never a point
where there was a disagreement, we brainstormed ideas together.
How did you
get involved with the project in the first place?
with Justine Gedron and Kyle Johannessen on Devil May
Care, which can be viewed on Vimeo
It has a lot of the same actors as A Bad Luck Guy in a Bad Luck Town!
can you tell us about your director Kyle Johannessen [Kyle
Johannessen interview - click here], and what was your
collaboration with him like?
The collaboration process has
been interesting. For Devil May
Care Justine was in the West Coast,
Kyle was in the East Coast, and I was in the Midwest, which meant constant
communication was a must. This time around, Kyle was in the East Coast and Justine and myself were in the
West Coast. It helped
tremendously that at least two of us were in the same time zone because we
were able to communicate and make sure all notes were understood.
Could you in a few phrases
talk us through the process of creating the sound for
A Bad Luck Guy in a Bad Luck Town, and were there any major
A lot of vegetables that laid down their lives
for the film. A lot of the more disgusting sounds you will hear in
the film were recorded using vegetables, fruits, and meat. The major
challenge was making the ambience flow throughout a couple scenes because
of the on-set sound limitations. But we were able to make things
Any future projects of yours you'd like to
Yes, A Good Person -
-, it is a feature film that I worked on in production and in post
What got you into the filmworld to begin with,
and into sound design at that? And did you receive any formal education on
As corny as it sounds, I was always fascinated
how there were all these different worlds and stories. I knew I
wanted to be part of making stories. I got into sound specifically
because it was a challenge. Early on in college, as part of a
required production course we needed to have our final film mixed at the
department's Post Sound laboratories. I sat next to an engineer as
they made my project sound a thousand times better, clicking all these
buttons and messing around a big machine with lots of buttons on it
(mixer). It was in that session that I told myself that I must learn
how to do manipulate sound.
What can you tell us about your filmwork
prior to A Bad Luck Guy in a Bad Luck Town?
dabbled in both production and post production doing various jobs.
In production particularly I data wrangled and in post production I mainly
focused on sound design and sound mixing. In a sense I can be all
over the place.
How would you
describe yourself as a sound designer, and who/what are some of your major
Like MOST sound designers, a big influence is
Your favourite movies?
particularly favor animation movies, I do not have a BIG favorite.
With animation movies, their entire world has to be made from the
background, to body movements, voices, etc. There are so many things
that go into giving an object some character.
and of course, films you really deplore?
Feeling lucky ?
any of my partnershops yourself
for more, better results ?
The links below
will take you
everyone has their own idea how a story should be told, it just might not
be one everyone enjoys.
Facebook, whatever else?
I'm on twitter at @SpliceGirlEve