THE SOUND DESIGN OF 1917
Welcome to the inaugural post on sameliaaudio.com. This blog endeavors to dissect the intricacies of cinematic sound design and storytelling by breaking down some of my favorite films, shows, and games to highlight how sound is an unseen but powerful guide capable of transporting us through time, evoking emotions, and immersing us in narratives.
Join me here, where I'll unravel the mysteries of sound design, share creative insights into the form and function of sound for film, and explore the myriad of profound ways in which sound design enriches stories.
1917
Known for its fantastic cinematography by Roger Deakins, Sam Mendez's 1917 delivers equally exceptional scoring by Thomas Newman, production sound by Stuart Wilson, mixing by Mark Taylor, sound design from Oliver Tarney, and dialogue by Rachel Tate. In this analysis, I'll delve into the intricacies of how the sound design choices enhance the overall production.
Immersive Opening Sequence
As the film opens, a haunting score featuring a reversed piano motif plays over a shot of a peaceful French countryside behind the front lines, untouched by war and filled with wildflowers and the muted sounds of spring. The overall effect of combining these unconventional modern score elements with delicate ambiance creates a feeling for the viewer like this is a moment frozen in time, as if it were a living memory or dream, a moment to savor before the peril that we know must lay ahead in the war. As the camera edges backwards, mirroring the reversed elements of the score, we are introduced to the protagonists- Tom Blake, a young and naive idealist, and his war weary friend William Schofield, a veteran of the Somme- as they are awakened from a quick rest beneath a tree so that they may go receive their next mission briefing.
The camera continues to pull backwards as the two begin to follow, walking through the busy camp as the peaceful backdrop falls away to the harsh reality of the trenches. Gentle soft grass becomes gloopy mud, heavy gear strains with every movement, and the commotion of the base drowns out the natural world. The score continues to build during the walk, adding dissonance and drones, conveying the mounting uneasy feeling the two (but particularly Blake) are experiencing. As the camera continues backwards, they make their way through the trench while nervously discussing what their orders might be. After a brief quip from Schofield to change the subject and put his friend at ease, the score fades in perfect synchrony with the camera's shifting perspective, as it turns to now face forward while the two proceed ahead. The instrumentation also changes here, indicating a shift within the protagonists, as they have now put aside their fears, gained their composure, and have accepted their fate whatever it may be...
World Building Score
1917 is rife with this type of intricate interplay between visuals and sounds. In his score, Newman has the responsibility of helping the audience inhabit the same world as the characters Schofield and Blake- and succeeds massively. The score plays a critical role in shaping the emotional tone and intensity of the film due to the editing limitations of the one shot approach, complementing the nuanced performances of the lead characters and adding to the overall impact of key scenes. Stepping aside when needed, the score ebbs and flows throughout the film, allowing the other sounds to ground the viewer with authentic bits of world building punctuated with quiet moments to let things breathe.
Authenticity in Audio
1917 prioritized authenticity in sound design, and went to great pains to record authentic sounds. The weapons and vehicles, as well as 5.0 ambiance recordings for the very natural moments of quiet, were all recorded on location from the same perspective as the protagonist, in favor of the highly processed close-miked Hollywood sounds typical of a blockbuster war movie- a choice which clearly aligns the viewer to the protagonist's perspective or attention in the moment, heightening immersion. Foley too, plays a role of keeping the protagonist (and by extension their inner world) the focus for the viewers as the cameras are constantly moving throughout the film. Some of the Foley recordings, such as the muddy trench footsteps, were taken on location as well, in order to make it even more authentic. The cumulative effect of these unique sounds for the viewer is a much more intimate and personal experience closely locked to the protagonist with little distraction from the greater world surrounding them, while still grounding them in that world, allowing you to experience the story unfolding alongside the character.
Effective Collaboration
The collaborative effort between visuals and sounds on display in 1917 creates an immersive experience for the audience that far exceeds traditional editing, as all parts come together to tell the story in an intimate and gripping way. We experience the zeitgeist of the war from the perspective of a soldier caught up in the middle, highlighting their emotions, hopes, and fears. This intimate perspective naturally provides a much more critical depiction of war than typical war movies, in large part due to the production and design choices which humanize the soldiers, complimenting the script's goal of creating sympathetic protagonists who are more victim than hero, and enabling the audience to experience the story alongside them.
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