I think another interesting metaphor, which maybe the public could more easily understand – they may not understand what a cinematographer does – but sounds are to sound designers as words are to a writer. A writer uses as their simplest tool, words, to build sentences to build paragraphs to build chapters to build scenes to build scripts. Every single word in the screenplay or a novel is chosen for a reason. There’s no misplaced word. There’s no word that isn’t there for a reason. Writers sweat over words like sound designers sweat over sound.
In that regard, we choose our palette of sounds and the order of those sounds and the way that it presents it to the audience; in the same way that the writer chooses their words and builds them to coherent sentences and lines of dialogue and soliloquies, so too does the sound designer with sound. I think that might be a helpful way of understanding the kind of effort that goes into creating the soundtrack to a movie.
One of my favourite interviews I’ve ever done, this. I spoke to Mark (pictured here at 19, working for Hanna Barbera) for around an hour, I think it would have been, and I had a great time. He said some genuinely interesting things about his creative process and way of working that I think are going to stay with me for a long time – I’m not especially musically inclined, but a lot of what he said rang true with me, and I’m going to want to steal some of his ideas for a long time to come.
But that aside, Mark was just really lovely to talk to – it’s always nice to listen to someone who’s enthusiastic and passionate about their work, and that’s something that was especially true of Mark. I hope you enjoy reading it as much as I enjoyed conducting it!
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