Pàgines

dijous, 11 de setembre de 2008

Leslie Shatz

taula i tres cadires
Leslie Shatz és un home de so per a cinema (dissenyador i mesclador) molt fi. No fa gaire soroll i és capaç de treballar amb directors ben distints. Vaig saber d'ell al mesclar la versió espanyola del Dràcula (1992) de Coppola, a través de Marian Wallace, mescladora també i supervisora de doblatge.

He repescat una entrevista, Interview with Leslie Shatz: Sound Auteur, de dues hores i per telèfon, que li va fer Gabe Klinger el 2005, sobre la seva feina en general i, especialment, sobre el so dels films de Gus Van Sant.

Tota l'entrevista val molt la pena, però hi ha uns quants punts que em toquen de prop i vull destacar-los. Els deixo en original, tal com me'ls he trobat:
  • One thing I've learned over the years is that I have to control my impulse to dismiss what the director's doing when it doesn't conform to my own preconceived ideas.
  • People are obsessed with the quality of sound, and they somehow think that word digital means "good." I'd like to think it's not the medium that counts but the content.
  • This is one of the suggestions I make to directors: if you think of sound when you're writing the script, then you've really integrated it into your movie. It's easy to do that since sound is so suggestive and so capable of creating imagery.
  • Part of being freelance means I can decide what I'm going to charge for my services. For Gus's films, you know, they're not always very lucrative. But what I get out of them is worth much more than money.
  • I think what happens with Gus's films and other films we talked about is that you take a sound that's a complete juxtaposition of what's going on in the image and it forces you to listen — you have to look to the sound for the cues of what's going on. Even if the sound doesn't give you a specific direction, it gives you a sort of broader experience than if it was just the dialogue being repeated over and over again.
(Fotografia: Una taula i tres cadires. La taula no serveix per a mesclar, però seure a la terrassa i fer una pausa pot ajudar a veure-hi "més clar")