Sound Lab 2 - Zero F***s Given

Considering sound design in film & TV

(Rien a foutre)

sound lab

A film directed by Emmanuel Marre and Julie Lecoustre

ZERO F***S GIVEN

Directors: Emmanuel Marreand Julie LecoustreRe-recording Mixer: Antoine BaillyYear of release: 2021Synopsis:Cassandre (Adèle Exarchopoulos) is disconnected from life after the death of her mother, spending her days working on a budget airline, and having meaningless relationships

Zero F***s Given

Section

through use f FX and

(Production sound is sound recorded on location - i.e. at the shoot). Also used: ADR (dialogue replacement) and Foley (spot FX recorded with props) where production sound is compromised

How is this acheived?

• Realistic sound at all times

• Production sound is used where possible

• Subjective/ halucinogenic - at times dream

• Use of music: DIAGETIC and NON-DIAGETIC - diagetic music used at end and for credits

Sound Design

(dialogue, SFX, foley,music, ADR)

i.e. EDITING - AFTER THE SHOOT

Antoine Bailly - re-recording mixer

HE IS IN CHARGE OF THE OVERALL SOUND- HE MIXES EVERYTHING TOGETHER

Charles de Ville - sound editorValène Leroy - sound editorAnais Letiexhe - ADR editorBertrand Boudand - foley artistAlexandre Rocher - foley editorBenoit Biral - foley editor

Audio Team - post production

Synopsis:

The two-sided life of a young woman fully immersed in the her job as an air hostess for a low budget airline, but who’s also concealing a deeply buried sadness, the causes of which she’ll be forced to face up to sooner or later. It’s an extremely modern portrait in terms of its paradoxes and contradictions, its uncertainties and its existentialist intensity.

Trailer

The main character

• talks to her sister in the dark while smoking cigarettes
• visits the traffic roundabout where her mum died in a car crash

• is in a hotel room in Dubai, where she is about to start a new job
• watches an outdoor water display with music
• CREDITS

IN THIS CLIP

The ATMOS (or, ambience - the background sound)

• it changes abruptly from scene to scene
• it tells us where we are - where there is no dialogue it gives us a sense of place
• how many different sounds can you hear in the atmos?
• why does the atmos continue over the credits all the way to the end?

WHAT'S WORTH LISTENING FOR:

The MUSIC at the end and over the CREDITS

• is it DIAGETIC or NON-DIAGETIC?
• How is the sound of the music affected by this?
• Why have the film-makers decided to treat the music in this way

WHAT'S WORTH LISTENING FOR:

SOUND LAB

when chatting to her sister in the dark

distant traffic

We're in the scene WITH the character - not in her head, but in Dubai with her. The diagetic music continues over the credits and the ambience continues after the music finishes. The story isn't over, even if the film is.

The background sound varies wildly in loudness and intensity depending on the scene

in the final scene in Dubaiand for the credits

DIAGETIC MUSIC

Why keep the music diagetic - even for the credits?

loud traffic

contrasts in the ambience

when she visits the roundaboutwhere her mother died in a car crash

Sound Design - ambience/ music

• AMBIENCE gives us information and a feel for location
• Music is DIAGETIC - we're in the scene with the character
• The film sound conveys REALISM
• The AMBIENCE carries on into the credits, possibly because the story of the main character is not over

Summary

Diegetic sound is heard by both the audience and the characters, unlike non-diegetic sound which is used purely for the audience's benefit

Paradox

a statement that is seemingly contradictory or opposed to common sense and yet is perhaps true.