I think that the biggest takeaway is that sometimes it can be more powerful and more engaging to play less sound, and have the sound be more focused, than to play a lot of music, a lot of sound effects, a lot of dialogue. Sometimes doing the opposite can actually create a more engaging and powerful experience.
With a lot of blockbusters, there’s been this kind of race to the edge of the cliff sonically with ‘how much louder can everyone get?’ and going bigger and bigger and louder. What happens is there’s kind of this numbing effect to that much volume and I think audiences kind of start to tune out from it – so using negative space in A Quiet Place actually made people tune in. I’ll be excited to see how other filmmakers kind of see that and say “hey, you can have a blockbuster that does something totally different with sound”.
One of the things I did with this one, which is something I always enjoy reading in interviews myself, is ask Erik and Ethan what they thought of some other recent films, specifically which ones they felt had impressive sound design themselves.
It’s not something you always get an opportunity to do – understandably, since, you know, the point of these interviews is to talk about whatever they’re promoting – but it’s often the question that yields the most interesting answer, because it you get to hear what these professionals think of the work of other artists, and how they engage with that work.