Wired.

I chose to do sound design on this film, since it wasn’t my idea and if the director’s chair wasn’t filled, then I wouldn’t have really known how to direct it anyway.

However, we were barely a week into production before it was clear that our director didn’t know or care what he was doing. Which left a crew of 2 producer’s, 2 camera operators, myself on sound design, an editor, and no director. I kind of stepped up here. I didn’t really know how we were going to make the film, all I knew was that we needed to film something. And boy did we. Our editor was being given a tape a day to capture for the first couple of weeks of shooting. Only in the final week did it actually become clear what film we were making when I sat in the room with the editor discussing the film.
The editor had to essentially search for meaning in all the stuff that got filmed, and once we had a film that was coming together told the camera operators to go off and shoot specific shots that would fit well in the film. Therefore, he got a director’s credit as well.
In between all the editing that he was doing I had to edit the sound that I had recorded myself, as well as some sounds which I took from a sound library. Since the footage we filmed was recorded without any sound, it was up to me to design the soundtrack for the film. I had major ideas for it at the start, before the film evolved into what it is now, although I’ve managed to keep in as many of those ideas as I could, as well as coming up with new ones.
I ended up manipulating a lot of the sounds to give them a more unique quality. And taking my inspiration for such artists as composer Max Richter and writer/director/composer David Lynch, I’ve managed to create what I think is a very original soundtrack.
You can also view the full video here: http://vimeo.com/7436933
I’m very pleased with the sound design that I’ve done on this film and whilst I might have accidentally typecast myself now as a sound man, my passion is still for directing.

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