Project: Milk Update

Millie, our one-woman film powerhouse, has been working on a third edit of ‘Milk’, and I have been there to advise and offer input.

One clear new direction was the involvement of a new composer and sound director, Guillermo, who reached out via a mass email looking for projects to work on. I met Guillermo, showed him the film as it stood and we discussed where we wanted to go from here and what was needed to be done.

Yesterday, he came back with his first edit (not yet finished). It was fantastic – a huge elevation in the overall tone and storytelling potential of the film. Through music composition, some foley, new overlaid ambient sound and a few other tricks, the film now stands on a whole new level.

There is still work to be done, and I’m meeting him this afternoon to give him some notes, however, they are really minor tweaks here and there – with the exception of the long conversation (scene 6); I think it’s missing something that I just can’t put my finger on.

milk

What I got from this:

  • The importance of background noise and ambient noise is integral to making any scene feel “real”. Without these extra effects, the sound felt flat. I could utilise this in my own work, removing the ambient noise to make something feel otherworldly and outside the normal parameters of audio.
  • I need to increase my knowledge of sound production in order to have a better idea of what’s missing, experimenting with different levels to achieve something close to what’s right this time will mean next time I come across this problem, I’ll know what I need to do to fix it.
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Research: ‘How English sounds to non-English speakers’

‘Skwerl’ is, according to the description attached to the YouTube upload, “a short film in fake English”.

The gag here is that everything else about this piece has the trappings of a short, highly charged drama exert, the only thing missing is recognisable English vocabulary. It has been exchanged for English phonics, the actual constructed sounds that make up word, delivered with conviction and in character, so that the audience can infer everything that you may be able to infer from watching a foreign language film without subtitles or dubbing – the setting, the atmosphere, the interpersonal tension and the swings of mood, as well as broadly from this context – the “meaning” of the dialogue.

Screen Shot 2017-11-03 at 12.13.12This whole grand delusion is designed to give an insight into what it would be like to watch an English Foreign Language film, if you had no grasp of the English language itself – the strict ties of vocabulary and meaning are pulled out from under you, leaving you with noises that are tantalisingly familiar sounding, but whose precise meaning is impenetrable.

This particular experiment has strong cultural undertones – with the prevalence of English across the world as a stable of cultural expression, recasting English as a foreign language that native English speakers are not familiar with allows. A degree of insight into another world – the wealth of English culture not being directly accessible to you.

Screen Shot 2017-11-03 at 12.13.13

There are some occasional attestations as to the truth of this rendering of “How English sounds to non-English speakers” from honest-to-god ESOL (English as a second or other language) speakers from the days before their fluency. This is a testament to the thorough research or prior understanding of English phonics, or perhaps merely an intuitive ability of the presumably English native speaking screenwriters to create English sounding non-English words.

 

What I got from this:

  • This is a novel but effective approach to discussing how a non English native speaker hears English. Its tackling an issue that previously wouldn’t have been experienced by englosh native speakers as every language sounds inherently different. Someone whoes always spoken english was never going to know what iy sounds like as an outsider. This piece forces everyone to be an outsider of their own language. It’s an equaliser.
  • Part of what makes this piece so successful is that it takes a common but isolating experience and turns it into something that brings the expierencers together.

What I want to take forward:

  • In my final piece I want to share that elusive feeling of isolation and otherness and, by sharing, bring people together. This piece shows that I don’t have to share universal experiences for the to be shared universal emotions.