Manipulated heartbeats, sort of industrial sounds, things that felt how it would to be the characters in that moment, blood ringing in your ears. Like you’re just, you want it to stop in the same way that one might feel in that situation. So that feeling of totally overwhelming dissociation that happens I wanted the sound to feel like an assault. What I tried to do, both with sound design and cinematography, is to mirror the internal experience of the characters. “When I Consume You” uses music and sound to heighten the feeling of distress – how did you approach sound design in the film?įirst I want to shout out to Mitch Bain, who did the amazing scoring. Like what do we care about? And go from there. I think that part of it is like: What can we make together that you want to play? Developing it together a little bit. Evan and Libby lived together during shooting and developed this true brother-sister dynamic. I have to say, I want to take credit for it, but, you know – these actors are incredible. And I cared so much about doing it right. They had a really messed up childhood and reacted to it in very different ways: Wilson kind of never grew up, and Daphne grew up much too quickly. I really loved and cared about these characters so much. How much of the sibling relationship was writing versus casting, and is it difficult writing new characters for actors who return for multiple films? And I think we wanted to bring that sort of tactile nature to this enemy rather than just an ethereal spirit. Also, I once learned you feel pain in the same receptors that physical pain spikes when you’re very lonely. After making “They Look Like People,” which was very deep into psychology, we wanted to try something that was more supernatural. Damnation, a bad death or a hollow death. As I was writing it, there was this feeling that there’s stuff a lot scarier than death.
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