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.
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