Article: ‘Perfume’ Director Tom Tykwer Talks Sound

January 12, 2007

by Peter Cowie for POST (Jan. 1, 2007)

Tom Tykwer made his first feature, Deadly Maria, in 1993, but his breakthrough on the international scene came with Run Lola Run in 1998, which stunned audiences with its roller-coaster pace and its perceptive characterizations. The Princess and the Warrior followed two years later, and Heaven (starring Cate Blanchett) was based on a screenplay by the late Krzysztof Kieslowski. Perfume: The Story of a Murderer (2006) has taken almost 20 years to bring to the screen, ever since Patrick Süskind’s novel became an international bestseller in the 1980s, and it marks Tykwer’s most expensive and ambitious project to date.”

Read full article here 

Article: American Hardcore

December 27, 2006

American Hardcore

by Iain Blair for MIX (Dec. 2006)

“In our current era of safe, blow-dried, corporate rap and rock, and super-bland pop, the snarling, spitting, angry punk acts profiled in the new film, American Hardcore: The History of American Punk Rock 1980-1986, come across like a musical speedball — dangerous, manic, provocative and obviously in league with the devil. Want a little political commentary on President Reagan?”

Read full article here

Article: Stage To Screen

December 25, 2006

Stage To Screen

by Blair Jackson for MIX (Dec. 2006)

“Nearly 25 years to the day after the musical Dreamgirls opened on Broadway and began a triumphant four-year run, a film version is finally hitting theaters. Its makers are no doubt hoping that some of the magic that propelled Chicago to great heights two years ago will rub off and help Dreamgirls make that always-difficult transition from stage to screen.”

Read full article here 

Listen: Philosophy and Film

December 21, 2006

from PRX

Philosophy and Film

hosted by John Perry and Ken Taylor for Philosophy Talk series

producer: Ben Manilla Productions

PRX Description:

“Despite Hollywood’s best efforts, there’s no doubt that film is a distinctive and distinctively powerful art form. Cinematic representations move us in ways that few others do. And film has also proven to be an outstanding vehicle for conveying philosophical ideas. Join John, Ken, and their guest, noted film critic David Thomson, as they dim the lights, raise the curtain, and dig into a jumbo-sized vat of philosophical popcorn.”

Listen to program here

Film Sound Cliches – Pt 3 of 3

December 2, 2006


from Film Sound


  • Animals are never ever silent – dogs whine/bark/yip, cats meow or purr, cows moo, even in cases where most animals wouldn’t be making a sound.
  • Rats, mice, squirels and other vermin always make the tiny little squeeky noises constantly while they are on screen.
  • Dolphins always make that same “dolphin chatter” sound when spinning, jumping, etc.
  • Snakes are always rattling

Read full list of many, many cliches here


Film Sound Cliches – Part 1

Film Sound Cliches – part 2 

Film Sound Cliches: Pt. 2 of 3

December 1, 2006

The Castle Thunder

by Steve Lee for Hollywood Lost and Found

“Castle Thunder could easily be called “the thunderclap heard around the world.” Originally recorded for “Frankenstein” in 1931, it has gone on to be featured in countless films and TV shows since, becoming the definitive movie thunderclap. Until around the late ’80s, whenever you heard a thunderclap in a movie, it was probably Castle Thunder.”

Read full article here

Read Steve’s Blog.


Film Sound Cliches – part 1

Film Sound Cliches – part 3 (The Greatest Hits)

Film Sound Cliches – Pt. 1 of 3

November 30, 2006


by Steve Lee for Hollywood Lost and Found

“One sound effect that has found a following with many sound editors and observant movie fans is a distinctive scream named Wilhelm.

In 1951, the Warner Bros. film “Distant Drums” directed by Raoul Walsh starred Gary Cooper as Captain Quincy Wyatt, who leads a group of soldiers to stop some Seminole Indians from threatening settlers in early 19th Century Florida. During a scene in which the soldiers are wading through a swamp in the everglades, one of them is bitten and dragged underwater by an alligator.”

Read full article here


Read Steve’s Blog.


Film Sound Cliches – Part 2

Film Sound Cliches – Part 3 (The Greatest Hits)


Interview: Patching Up LAWRENCE OF ARABIA

November 28, 2006

Patching Up Lawrence of Arabia

by David E. Stone for Movesound Newsletter (March & April 1989)

“When “Lawrence of Arabia” was released in 1962, Richard Anderson was 11 years old. Since being impressed by the first run of “Lawrence,” Richard grew up to become Supervising Sound Editor on many top films, including “The Color Purple,” “Beetlejuice,” “Harry and the Hendersons,” and “2010.” We can’t list his whole resume, but he worked on “Poltergeist,” “48 Hrs,” “Gremlins,” and “Star Trek: The Motion Picture.” He has an Oscar for “Raiders of the Lost Ark,” and other awards including Golden Reels (the Sound Editor’s Guild Award) for “Predator” and the B-17 episode of Steven Spielberg’s “Amazing Stories” called “The Mission.”

In 1989 he completed work restoring the soundtrack for missing pieces Sir David Lean has replaced in a re-release of “Lawrence.” Following are excerpts from an informal conversation with Richard for Moviesound Newsletter when he had concluded work on that restoration.

Read full interview at Hollywood Lost and Found.

In Memoriam: Robert Altman

November 21, 2006


Robert Altman (1925 – 2006)

Listen to:

His Pinewood Dialogues appearance.


I’ve previously posted an article with a few links about Altman on this blog.

On a personal note:

I wasn’t ready to hear this news, frankly, as I wasn’t 15 years ago for Satyajit

Ray’s death. Altman has been a huge influence in my ownapproach to filmmaking

and even radio. The film world has lost one its best.

Robert Altman wasn’t just a filmmaker… he was a genre.

Article: Sounds of Goodnight, And Good Luck

November 14, 2006

by Heather Johnson for MIX

For their critically acclaimed film, Good Night, and Good Luck, co-producers George Clooney and Grant Heslov wanted the activity on the CBS Radford Stage (Studio City, Calif.) to authentically represent television’s golden age. At one end, Edward R. Murrow delivered his hard-hitting See It Now program from a stiff armchair. Nearby, his team sat poised at the news desk. At the opposite end of the cavernous room, a stunning female jazz vocalist — played by three-time Grammy-winner Dianne Reeves — and a small combo rehearsed for an appearance on the variety show Shower of Stars later that night. In between and all around, producers and reporters rushed through the set, leaving trails of cigarette ashes and half-filled coffee cups behind them.

Read full entry here.