The work of Norwegian director Ola Martin Fjeld is characterized by its playfulness, curiosity and a perfect sense for sound. Ideal candidate for the first topic of PAFFíčko “Sound in film”. He does music videos, short films, VR experiments and commercials - e.g. for a sound effects platform Soundly. You can see his work at PAFF for the first time. In this interview, you will find out more about Ola Martin’s relation and experience with sound design.
We will screen two commercials produced by Ola’s own production company Antfarm - You Say Scream, We Say How High and Experience Sound Designer Zen - starting at 7pm in a section “Zahrievanie mašiny”.
When talking about sound design in a video project (whether it's a film or a commercial), do you prefer a realistic approach or more expressive? Do you want the sound design to stand out or do you prefer to keep it subtle, in the background, just to support the visuals?
In general, I prefer an expressive sound design. Many directors (me included) sometimes get so involved in the visual that we forget how much emotion and storytelling you can communicate with sound. I love experimenting with sound and music to see where it can take the story. Sometimes the sound can completely alter a scene and our view of the characters, so the emotional impact of sound is vast. The visual part of a film has many cultural contexts that need to be analyzed for the viewer to understand the emotional impact. The sound goes to our core and is often universal for all humans. A dog barking in the distance means danger all over the world. And it is great to have this tool to play around with and be creative while editing the film together.
How much are you as a film director involved in the sound design process? Is it about a few phone calls with the sound designer or do you physically sit in the studio and keep an eye on a whole process? Is it a more technical or creative process for you?
As I usually edit my films, I also put in a lot of sound effects while editing to try things out. Soundly is an excellent drag-and-drop tool for trying out sound effects, and I use it constantly to test ideas for sound design. The sound designer can then add, change, or manipulate the sounds to clarify the concept. Still, putting a reference on the timeline makes it much easier for the sound designer to understand the idea I am after. Also, I now include more and more aural ideas in the scripts. I didn't do that when I started as a filmmaker, so that is something I have picked up from experience.
What is your most common remark to a sound designer? Is it something like "Make it more quiet here" or is it much more sophisticated?
The language to talk about sounds, or the lack of language, can be frustrating. I often miss words to communicate a sound and end up trying to mimic the sound I am after. If you overhear a director and a sound designer talking about sound design, it all sounds silly and childish. And I do love that. There is something very liberating about embodying the sounds rather than analytically talking about them. But if mimicking doesn't do the trick, I also have a background in music and sometimes use musical expressions to communicate what I am after. Making a sound more staccato or legato is something I can say if the sound designer has a music background, which is quite typical among sound designers.
What would you say to a beginner filmmaker who thinks that it's not needed to hire a practiced sound designer and decides to make it on his own?
As a director, your job is to know a little about every aspect of filmmaking. So if you can find sound effect software where you can experiment with creating your soundscapes, that is great. But working with a good designer who is a sound expert is highly recommendable. It would be like shooting without a DP. You can do it, of course, but you will miss out on some storytelling opportunities as so much of the creative process comes through discussing your ideas with an expert. Working with sound designers is creatively rewarding for both myself and the project.
Do you have a favorite sound in some of your own projects, you are especially proud of?
The reverse explosion is a sound I also go back to when I need to emphasize a moment. It creates this intense focus that almost always works. It can be done in a very subtle way or done way too big for a comical effect. The reverse explosion is one of my favorite sounds; you will find it in almost all of my work. But you won't always know that it is there. And that is the beauty of great sound design. It just works without you knowing it has affected you.
www.antfarm.co
