From StarWars to TopGun: Director Midge Costin explores power of cinematic sound in awards-contending doc MakingWaves
). Murch, who began experimenting with sound equipment at age 10, brings a conceptual depth to his work, tracing the subconscious power of sound on the human mind to a baby’s development in utero.Making Waves
in Los Angeles. “The womb is a very noisy place. A constant 75 decibels of heartbeat and breathing and intestines gurgling and the human voice…The developing child is reacting to the mother’s voice and other sounds.” In the early 1970s Murch and his young collaborators George Lucas and Francis Ford Coppola were among the first to understand the potential of sound to powerfully impact the moviegoing experience. He and Coppola expanded their innovations for 1979’s“I wrote out a script for the sound treatment of the film to guide the mix,” Murch explains in.
The documentary, written and produced by Bobette Buster and produced by Karen Johnson, also explores the impact of many women in sound innovation, includingwould be enhanced if her singing was recorded live on set instead of dubbed in later. And as the star and executive producer ofin 1976, Streisand insisted on stereo sound, instead of mono that had long been the standard in cinemas. Streisand agreed to appear in“That was fantastic,” Costin enthuses.
“I spent a week in San Diego recording jets…but the jets themselves are not that interesting,” Hall recounts inSo she created a library of “exotic animal roars, lions and tiger roars and monkey screeches” to substitute for the actual sound, giving the high-flying action scenes a crucial sonic jolt.
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