Ray Avito talks about Unfaithful

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Finished off

I poked around everywhere with my recorder. I recorded the sound of the wind in the trees, the storm, people crisscrossing the streets. I recorded birds. I stuck a microphone to my chest to get my heartbeat, hoping I wouldn't find any weird noise. I recorded music too, guitar, accordion, violin, drums.

I was thrilled by the music coming from the street. When you hear a violin yelling through the sound of people steps and voices, you are led to figure out someone playing this violin. It is so more alive. I didn't expect such feelings. That's why I kept a recording more poor, rather than a technically perfect one I had, which sounded lifeless, like a disc.

I added Lydia Lunch's music on the timeline. I did a bunch of settings. And "voilà": a version of this film is done. The work is finished off, or I am, I'm not sure...

This moment is weird: the huge task is over, but nobody gave a look at your movie yet. It has not been received nor judged. It's still completely yours. Shall I show it at all?

The poster would go like this, what do you think?

note to self #5

< style = "color: # 000000 ;">read this: & quot; love is a joint experience between two persons -- but the fact that it is a joint experience does not mean that it is a similar experience to the two people involved.& quot;

[The Ballad of the Sad Café, by Carson McCullers]< /h2>

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About the sound editing

I meet someone from acousmatic music. He will surely have interesting things to say about my work on the sound.

I look at him. I'm not sure whether he's not quite awake or not comfortable. He hesitates a long time about where he prefers to sit. I settle his question: "Here is a good spot, isn't it? . He sits.

He makes you want to shake him or to leave him alone, to say nothing at all and to move very slowly, since he seems so easily disturbed by the slightest thing. It's moving. It doesn't help the dialogue. I guess people must feel the same when they meet me. Now I picture it. I smile.

I tell him the plot of the film. I mention, probably still not to rush him, that it is not at all provocative. He replied: "Yes, but it's radical, that's great."

Then I talk about my ideas on the sound. I tell him that I don't appreciate the way people usually use the soundtrack on the movies, which is often quite moronic. There they go again with their violins when it's sad or make noise machine when it's scary ... I do not necessarily want to tell the viewer what to think of the film.

I tell him I want to use real noise from the street, the weather, the birds ... He breaks me off with his eyes screwed up by his smile: "that's the origins of music, calling to mind the storm , the songs of birds .... "

I explain that I want to go with what is happening, reinforce the rhythm, but I also don't want the sound to stick to the images. I say that sometimes only the sound gives the information in the film, while we don't know what happens on the image.

He listens carefully. He often agrees with me, even if things I say contradicts each other. I guess he must be a bit intimidated.

Then he asks technical questions, how I record this noise, how I edit it... He gives me advice and offers me his help.

I ask him what he's working on and how he proceeds. I listen. I smile. I would be curious to hear it.

It is time to go. I tell him he looks more awake than before. He smiles. We say we meet again soon.

Mood:



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Portrait: Lydia Lunch

Photo by Dave Naz

Lydia Lunch is an American singer, poet, writer and actress.

Muse of the New York's No Wave movement, she acted in, wrote, and directed underground films (including the powerful visual poem The right side of my brain, directed by Richard Kern).

She wrote and composed about 30 albums. Hailed by the Boston Phoenix as "one of the 10 most influential performers of the '90s", her solo career featured collaborations with musicians such as Sonic Youth and Nick Cave.

Lately, she was invited by Asia Argento to operate as official still photographer on The Heart Is Deceitful Above All Things and narrated Cam Archer's award winning American Fame part 1 and 2.

She undertakes repeated tours of Europe and the U.S.

She wrote and composed the music in Unfaithful.

www.lydia-lunch.org

Trailer #2 by Patrick McPheron

Patrick McPheron made his own trailer of Unfaithful.

To introduce himself, he says in few words: "I am a 28 year old graphic designer living in Los Angeles, California.

I love to paint, edit, cut, create, erase, redo, recover, manipulate, makeover and mash-up in all media.

I love horror movies from the 1970s, art nouveau, and old empty houses.

My website promotes what my brain comes up with."

www.interiorstate.com

Patrick's words about his trailer: "I went for something subtle, sexy, and mysterious for the trailer and added some very simple musical notes to the piece to help give it a little something extra. I hope you enjoy it!"

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