Sound Exploration

    During sound research, made up nearly entirely of relentless hours of listening to a variety of genres of music and certain movie marathons, we selected a song to use during the intro of the opening, "Breakfast for One" by Topeka Clementine. What intensely drew us in was the song's beginning, using mainly a piano that conveyed tones as if being able to listen to the freedom of flight. The piano is soothing and light-hearted, which would perfectly portray similar tones of our introduction, as the opening's painting freedom section would embody such themes. Hoping to receive permission from the artist/company to use the song in our opening.

    Such song usage takes inspiration from a similar artist, Piero Piccioni, who's soothing music using a variety of instruments - violins, trumpets, pianos -  and has been enlisted to create the soundtracks of numerous movies. This artist experiments in jazz, contemporary, classical, funk and more genres, used for psychedelic, romantic, comedy, thriller, epics, and many more films. This expertise in variety producing simply beautiful melodies is something we wanted to convey within the opening's section of freedom of art. Similarly, we believe Topeka Clementine will help to convey such. 

    We also wanted to experiment in the use and differences between non-diegetic and diegetic sounds. In Tenet's introduction, there is use of high-note violins and similar stringed instruments playing, adding to the increasing suspense of the content displayed. However, this initially non-diegetic sound transitions to becoming diegetic, an interesting detail, as the shots continue inside the opera, showing instead that this diegetic sound came from the orchestra warming up their instruments, presumably. This creates a smooth transition between increasing suspense into the subsequent action sequences and ensuing chaos. Such could be easily imitated in our own opening, using the aforementioned song shown as being played on a record player during the introduction and grounding of the character - the first portion of the opening. This beginning portion is entirely dedicated to characterization and building context for the main character, who she is, what she enjoys, etc. This sound transition, perfect for setting tones and mood, would also work to build the audience’s idea of the character. 

    Everything Everywhere All At Once, for its “Part” scenes, there is a loud, and i quote from Nyx, BWAAA, noise. These sound fits the comedic tones of the film, and are extremely dramatic as such. We would like to use similar sounds to introduce the obstructive piece, to intensify the scene and solidify the impact it has on the character. Only not so in its comedic effect.