00:00particularly that creaking noise that crops up every once in a while.
00:03It was, I was just so unsettled.
00:05I'm curious on your decision to employ that kind of a device in your film.
00:11Yeah. I mean, one thing that's unusual about this film is, you know,
00:16it has no traditional score. So everything is sound design,
00:20even the things that sound like it would be score. Those are all sound design.
00:24And I, I was very inspired by how David Lynch uses sound in Eraserhead.
00:35The idea of using sound design as an expressive,
00:39as another expressive tool to add into a scene to, like you said,
00:45bring up the tension or bring up the creepiness or whatever the emotion that I'm
00:49trying to do.
00:50And so there's some points in the film where there's even like,
00:54transitions between scenes where there's a rumbling that,
00:58that, that you can feel in your chest cavity.
01:02And in working with my sound designers,
01:06we all of the sounds in the film that,
01:09that even seem like they're real are all heightened.
01:13And it starts out that way from at the beginning,
01:15when you hear these birds out the window, they're a little too,
01:18they're a little too perfect. They're a little too loud.
01:21You don't think about it.
01:22But then as the film goes on,
01:24the sound becomes more and more abstract until like you say,
01:27we're hearing sounds that are really there to,
01:33to up the, the, the scariness.
01:37And then at some points,
01:38and I'm also using the theater as a tool.
01:41So if you're seeing the film in a theater,
01:43if a sound is behind Linda,
01:45you, you hear it behind you.
01:47If it's in front,
01:48you hear it over there.
01:49And then by the end,
01:50we're surrounded.
01:51We're completely surrounded.
01:54And you can't get away from it.
01:56And it's another way to create claustrophobia.
01:58Yeah.
01:58Yeah.
01:59You
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