you felt you might have liked to do
something different than what was
decided in the mix?
TZ: I experience a lot of times during
filmmaking that I am dissatisfied,
I can't find good sounds; acoustic
processes are hard to put together.
This now seems like a normal
creative progress, but if we work
hard and try out several solutions,
by the end, everything will come
together nicely. In this sense,
I am not dissatisfied with any
part of Son of Saul. However, it is
clear that much could have been
done differently, another sound
designer and another re-recording
mixer could obviously have made
significant differences. My guitar
teacher said a very, very long time
ago: No matter what chord you are
going to, just sound good. And what
counts as 'good' is very individual
in every movie, in every scene:
It depends on the quality of the
picture, the story, and the hidden
feelings coming from the actors,
everything from the director's taste
to our current physical condition,
and also depends on our technical
knowledge and the tools (plug-ins,
Foley props and so on) what we
use. If I had to highlight anything, I
would love to remember the scene
Images of location and sets for Son of Saul.
See the online digital version of this edition of
Wavelength at mpse.org/wavelength for links of
more images of location sets and links to video &
audio samples notated in this article.
