Interview 1: Surround As A Dramaturgical Tool
Interview 2: Way Into Film-Biz
Surround as a Dramaturgical Tool
Excerpts from an interview with hannes vester conducted by g. dellmann and chief editor dr. walter werhan PRODUCTION PARTNER 01/2002:
The first cinema short film produced worldwide with hd 24p, "gone underground", was over-whelmed with acclamation and awards and as an additional high-point was recently awarded the german short film silver prize. However, not only the accomplishment of cameraman michael ballhaus, twice nominated for an oscar, was responsible for the grandiose success of the short-shockers under the direction of su turhan, but also the impressive surround soundtrack played a fundamental part in the imposing appearance and to the great international reception of the short film.
Production Partner: How did you get the job to make the sound track for "gone underground"?
Hannes Vester: As film composer i had already done productions with director su turhan. We have the same wavelength concerning film composition and the sound recording of films. He knows that the soundtrack is an enormously important tool to awake emotions and make a strong film. And the demands for "gone underground" were very high: Because, for the first time in the world, a film was going to be completely produced using the new revolutionary digital video technique hd 24p, we thought that the sound track should also have something new, something which had never happened before in films.
Production Partner: Naturally, in surround…
Hannes Vester: …Yes, but not through a single source à la "star wars" stagily distributed with a joystick in the space. much more, the space itself should be recorded and become an important team player. The decisive question was: How do i get the people involved in the events - emotionally, vividly, spellbound?
Production Partner: Was the decision to produce in surround made from the beginning?
Hannes Vester: No, not at the beginning. I had, well "merely" the task of doing the composition for the film. After viewing the first runs on the cutting table i noticed however that the wonderful aesthetic effect of the hd pictures contained in themselves a danger that the audience might become so entranced with the screen that they wouldn‘t follow the story. It was quickly clear to me, to give the film the breathtaking magic contained in the story, that i must rely fully and completely on surround sound and the recording of adequate space as the central creative sound concept.
Production Partner: In their diversity, the ambiences and noises of the underground represented a symphony orchestra to me. The sounds which occurred there were the basis for my composition. My only real music, in the classical term, is to be found in the credits. That was, of course, courageous but with hindsight the only right thing for the film. The director was immediately enthusiastic about my idea. The four producers were sceptical at the beginning because they didn‘t want to take any risks in view of the high costs and the great expectations for the film. Finally i received the green light for my idea because the concept convinced everyone. I then took the liberty of banning all parties from the studio until the final certification to avoid irritating discussions because the surround production in this form was something completely new. I set great value that the sound track would be first appraised by the producers after the finished mixing. Which then also worked…
Hannes Vester: …yes, everyone was very enthusiastic. At the end of the film they all jumped up and said that they had never heard anything like it before. One must be very careful with surround sound and use it in doses. If one is heavy-handed from the beginning the effect is lost. As lead-in to the sound in the film, i suggested a prolongation of the first scene by 20 seconds to the director in which the audience, without noticing it, would be prepared for the unusual surround sound. Sort of a tender artistic opening for the ears. I am still pleased today about the reaction of michael ballhaus, who didn‘t know about these 20 seconds, at the demonstration of the already finished mixed product in berlin. He slapped himself on the thigh and said only "great!".
Production Partner: Which creative guidelines did you have for the mixing?
Hannes Vester: Surround sound does not mean effect and we talk about using surround as a dramaturgical tool. Surround means another dimension in which the director can express what he wants to.
Production Partner: What consequences are there for the future from this elaborate/complex sound production?
Hannes Vester: I am already involved in the creation of the script for the next film with su turhan. He is of the opinion that such a sound concept is analogous to an actor‘s role. In his eyes the sound track has such an immense influence on the dramaturgy of the film that the involvement of the composer is already asked for at the beginning of the film. Through the inclusion of atmosphere, i transport the spectator first of all into a quite specific emotional basic feeling. Then i have found a good starting point to make specific points through the music or rather, allow the music to come naturally out of the sounds. It does not mean a substitute for music, but simply about a more effective emotional functioning of the film. Incidentally, for those seeking formulas and guidelines: Everything is permitted with surround which serves film dramaturgy and makes the cinema experience more appealing. Naturally the same thinking applies also to music productions. Creativity has no constraints.