Set my first year students a sound effects project, which they just finished. They got to choose from three scenes, from which I’d removed the soundtrack. The scenes were: 10.30 PM SUMMER (Jules Dassin), the opening murder; THE EXTERMINATING ANGEL (Luis Bunuel), the crawling hand dream; ERASERHEAD, our first meeting with Henry.
All the students did interesting work and in places sometimes surpassed the illustrious filmmakers they were “collaborating” with. A really interesting case was ERASERHEAD, which has an undeniably immersive and oppressive soundscape by Lynch and regular collaborator the late Alan Splet (whose very name is a magnificent sound effect). But in choosing to privilege a throbbing industrial atmos, the filmmakers naturally sacrifice a degree of individual detail. As Henry traverses a series of heaps of waste material (slag?), all we hear is the urban rumble.
One group of students chose to dub in extremely precise dusty footsteps for Henry’s journey. The effect was riveting. A closely synced sound always draws our attention to the object concerned, and by honouring actor Jack Nance’s gait, and his little hesitations and skids as he deals, not too nimbly, with the more “mountainous” areas, the foley work actually ADDED PSYCHOLOGY — it put us into Henry’s shiny black shoes, and made us experience his every step.
As I remarked at the time, I always like it when I learn something in a class — especially when it’s one I’m teaching.