Saturday Matinee: Making Waves

Film Review: ‘Making Waves: The Art of Cinematic Sound’

A lively movie-love documentary looks at the history of sound design in Hollywood, as innovated by artists of technology like Walter Murch.

By Owen Gleiberman

Source: Variety

Among the pivotal and juicy nuggets of film history recounted in “Making Waves: The Art of Cinematic Sound,” Midge Costin’s wonkishly engaging movie-love documentary, there’s one that speaks volumes about the foundation of the New Hollywood.

It’s 1967, and George Lucas, who is three years away from making his first film, is on the set of “Finian’s Rainbow,” the clomping warhorse of a Hollywood musical that his buddy and fellow film-school brat Francis Ford Coppola has been hired to direct. Coppola, who already dreams of making his own more personal film, asks Lucas if he knows a good sound designer; Lucas tips him off to his USC colleague Walter Murch. Coppola and Murch then team up to make “The Rain People,” a road odyssey they literally shoot across the country, with Murch using the new Nagra Portable Audio Recorder. That’s when these filmmakers have their aha moment. “If we can make a film out of a shoe store in Nebraska,” realizes Murch, “then why do we have to be in Hollywood?” At that point the three head up to San Francisco to form American Zoetrope.

The New Hollywood kicked into high gear in 1969, and it was a revolution in countless ways. Yet when you think back to so many of its classics — “Mean Streets” and “Dog Day Afternoon,” “McCabe and Mrs. Miller” and “The French Connection” — the fact that they were shot on locations that became the films’ realities was central to their aesthetic. It was the new world of aural recording that made that possible. As much as anything, the ’70s film revolution was a sound revolution.

This hit home to me when “Making Waves” dissected the sequence in Robert Altman’s “Nashville” where Ronee Blakley’s Barbara Jean arrives at an airport that’s a mad swirl of scrambling civilians, random traffic, baton twirlers marching in formation, with the film’s main characters sprinkled throughout the jamboree. “Nashville” is my favorite movie, and I have a burnt-in visual impression of that sequence — but watching it in “Making Waves,” you realize that apart from several master shots, the images aren’t as packed and teeming as you might think. What’s packed and teeming is the soundtrack, a layered experiential hubbub that goes beyond even Altman’s famous “overlapping dialogue,” since most of what we’re hearing in this sequence isn’t dialogue. It’s the airplanes, the marching band, the nattering newscaster, all woven into something close to life.

“Making Waves” is about the evolution of film technology, yet the key to its appeal is that it revels in the holistic, aesthetic side of technology: not just buttons and dials and gizmos, but technology as an expression of something human. As lovingly directed by Midge Costin, a veteran sound editor, the film explores landmark moments in movie sound, like the fact that contemporary sound design really began with “King Kong” (1933), which pioneered effects that are still in use today, or that it was Barbra Streisand’s insistence on making the 1976 version of “A Star Is Born” an enveloping experience that pushed movie theaters into using stereophonic systems (she also spent four months and an additional $1 million on the film’s sound editing, unheard of at the time), or the fact that Ben Burtt devoted the better part of a year to coming up with the right modified animal sounds for the voice of Chewbacca (but would you have guessed that the bluster of the fighter jets in “Top Gun” was also modified animal sounds?), or that on “Apocalypse Now” there were half a dozen sound editors, each in charge of a different element (choppers, munitions, the boat), to forge a total symphonic effect.

Or take “The Godfather.” “The Rain People” turned out to be a disaster for Coppola, to the point that Warner Bros. claimed the money they’d given him to make the film was a personal loan. They wanted it back (it was the equivalent of $3 million today), which bankrupted Zoetrope and put Lucas’s career on hold. That’s one reason Coppola took on what Murch calls “this sleazy gangster film that 12 other directors had turned down.”

Murch, once again, was Coppola’s sound designer, and though “The Godfather” is a profoundly realistic film, in the famous scene where Michael Corleone kills Sollozzo in the Italian restaurant, the hit is preceded by a close-up of Michael’s face accompanied by a slow-building electronic din that sounds like the expressionistic version of a screeching subway train. “What you’re listening to,” says Murch, “are Michael’s neurons clashing against each other.” I’ve seen “The Godfather” a dozen times, but when that moment happens I’m so in the moment that I have never consciously heard that sound.

“Making Waves” presents Walter Murch as the grand architect of the Hollywood sound revolution — though the film doesn’t shortchange the extraordinary achievements of Ben Burtt, recruited out of USC by George Lucas to do “Star Wars,” or Gary Rydstrom, who became the sound guru of Pixar. (His first achievement: making those lamps in John Lasseter’s minute-and-a-half 1986 showpiece short “Luxo Jr.” “speak.”) The film also recognizes Orson Welles as the supreme cinema magician who first grasped, based on his radio experience, that sound was the art of illusion: creating an aural landscape to fill the spaces a camera could only show you. (It was the sound in “Citizen Kane” that let you feel those spaces.) The film salutes the directors who worked hand in glove with their sound wizards, notably David Lean and Alfred Hitchcock, Lucas and Spielberg, as well as Kubrick, Altman, and David Lynch.

But it’s Murch’s story that’s the archetype. Born in 1943, he recorded sounds off the radio as a boy, splicing and re-arranging them — and then, in 1953, when he first encountered music concrète from France, he felt like he was part of a movement. The works of John Cage were an influence, revealing a kind of sonic ideology in which anything you could hear became “music.” So were the Beatles, whether it was the future-shock distortion of “Tomorrow Never Knows” or the hipster music concrète of “Revolution 9.”

As a teenager, Murch soaked up Bergman and Kurosawa (both of whom cast spells with sound), and he then moved to Paris and connected with the New Wave, but at USC he returned to his tape-manipulating roots; he fused the mind of a scientist and the heart of an artist. Murch became a collector of sounds, and then a symphonist, forging a new kind of immersion in “Apocalypse Now.” Ben Burtt collected sounds, too, and one of the revelations of “Making Waves” is that many of the movie sounds we think of as futuristic, like the gun blasts in “Star Wars,” are things that were painstakingly culled from this world. (In their paradigm-shifting space opera, Lucas and Burtt actually cut against the eerie synthesized future sounds in films like the 1953 “The War of the Worlds.”)

“Making Waves” is a brisk 94 minutes, the last half hour of which is a quick-study primer on the categories of movie sound. The film is quite educational. I confess I had no idea that a “Foley” refers to a highly specific sound that’s crafted and post-synched — and that the term was named after Jack Foley, the sound editor who was ordered to make the armies of “Spartacus,” with their clanking armor, sound more realistic, and did so by employing such advanced technological devices as jingling car keys. In the years since “The Matrix,” anything has seemed possible. “These days,” observes David Lynch, “there’s so many tools to manipulate a sound that now, if you can think it you can do it.” That said, I wish “Making Waves” focused a little less on movies defined by their visionary action sequences: “Star Wars,” “Apocalypse Now,” “Saving Private Ryan,” “The Matrix.” I get that each of those films were game-changers, but if anything the movie teaches you to hear the expressive magic in the quietest of sounds — to know that when you’re listening to a movie, there’s always more than meets the ear.

Watch Making Waves on Hoopla here: https://www.hoopladigital.com/title/12896425

We Have Met the Alien and He Is Us

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By William Astore

Source: TomDispatch.com

We Are The Empire
Of U.S. Military Interventions, Alien Disaster Movies, and Star Wars
By William J. Astore

Perhaps you’ve heard the expression: “We have met the enemy and he is us.” Cartoonist Walt Kelly’s famed possum, Pogo, first uttered that cry. In light of alien disaster movies like the recent sequel Independence Day: Resurgence and America’s disastrous wars of the twenty-first century, I’d like to suggest a slight change in that classic phrase: we have met the alien and he is us.

Allow me to explain. I grew up reading and watching science fiction with a fascination that bordered on passion. In my youth, I also felt great admiration for the high-tech, futuristic nature of the U.S. military. When it came time for college, I majored in mechanical engineering and joined the U.S. Air Force. On graduating, I would immediately be assigned to one of the more high-tech, sci-fi-like (not to say apocalyptic) military settings possible: Air Force Space Command’s Cheyenne Mountain.

For those of you who don’t remember the looming, end-of-everything atmosphere of the Cold War era, Cheyenne Mountain was a nuclear missile command center tunneled out of solid granite inside an actual mountain in Colorado. In those days, I saw myself as one of the good guys, protecting America from “alien” invasions and the potential nuclear obliteration of the country at the hands of godless communists from the Soviet Union. The year was 1985 and back then my idea of an “alien” invasion movie was Red Dawn, a film in which the Soviets and their Cuban allies invade the U.S., only to be turned back by a group of wolverine-like all-American teen rebels. (Think: the Vietcong, American-style, since the Vietnam War was then just a decade past.)

Strange to say, though, as I progressed through the military, I found myself growing increasingly uneasy about my good-guy stature and about who exactly was doing what to whom. Why, for example, did we invade Iraq in 2003 when that country had nothing to do with the attacks of 9/11? Why were we so focused on dominating the Earth’s resources, especially its oil? Why, after declaring total victory over the “alien” commies in 1991 and putting the Cold War to bed for forever (or so it seemed then), did our military continue to strive for “global reach, global power” and what, with no sense of overreach or irony, it liked to call “full-spectrum dominance”?

Still, whatever was simmering away inside me, only when I retired from the Air Force in 2005 did I fully face what had been staring back at me all those years: I had met the alien, and he was me.

The Alien Nature of U.S. Military Interventions

The latest Independence Day movie, despite earning disastrous reviews, is probably still rumbling its way through a multiplex near you. The basic plot hasn’t changed: ruthless aliens from afar (yet again) invade, seeking to exploit our precious planet while annihilating humanity (something that, to the best of our knowledge, only we are actually capable of). But we humans, in such movies as in reality, are a resilient lot. Enough of the plucky and the lucky emerge from the rubble to organize a counterattack. Despite being outclassed by the aliens’ shockingly superior technology and awe-inspiring arsenal of firepower, humanity finds a way to save the Earth while — you won’t be surprised to know — thoroughly thrashing said aliens.

Remember the original Independence Day from two decades ago? Derivative and predictable it may have been, but it was also a campy spectacle — with Will Smith’s cigar-chomping military pilot, Bill Pullman’s kickass president in a cockpit, and the White House being blown to smithereens by those aliens. That was 1996. The Soviet Union was half-a-decade gone and the U.S. was the planet’s “sole superpower.” Still, who knew that seven years later, on the deck of an aircraft carrier, an all-too-real American president would climb out of a similar cockpit in a flight suit, having essentially just blown part of the Middle East to smithereens, and declare his very own “mission accomplished” moment?

In the aftermath of the invasion of Afghanistan and the “shock and awe” assault on Iraq, the never-ending destructiveness of the wars that followed, coupled with the U.S. government’s deployment of deadly robotic drones and special ops units across the globe, alien invasion movies aren’t — at least for me — the campy fun they once were, and not just because the latest of them is louder, dumber, and more cliché-ridden than ever. I suspect that there’s something else at work as well, something that’s barely risen to consciousness here: in these years, we’ve morphed into the planet’s invading aliens.

Think about it. Over the last half-century, whenever and wherever the U.S. military “deploys,” often to underdeveloped towns and villages in places like Vietnam, Afghanistan, or Iraq, it arrives very much in the spirit of those sci-fi aliens. After all, it brings with it dazzlingly destructive futuristic weaponry and high-tech gadgetry of all sorts (known in the military as “force-multipliers”). It then proceeds to build mothership-style bases that are often like American small towns plopped down in a new environment. Nowadays in such lands, American drones patrol the skies (think: the Terminator films), blast walls accented with razor wire and klieg lights provide “force protection” on the ground, and the usual attack helicopters, combat jets, and gunships hover overhead like so many alien craft. To designate targets to wipe out, U.S. forces even use lasers!

In the field, American military officers emerge from high-tech vehicles to bark out commands in a harsh “alien” tongue. (You know: English.) Even as American leaders offer reassuring words to the natives (and to the public in “the homeland”) about the U.S. military being a force for human liberation, the message couldn’t be more unmistakable if you happen to be living in such countries: the “aliens” are here, and they’re planning to take control, weapons loaded and ready to fire.

Other U.S. military officers have noticed this dynamic. In 2004, near Samarra in Iraq’s Salahuddin province, for instance, then-Major Guy Parmeter recalled asking a farmer if he’d “seen any foreign fighters” about. The farmer’s reply was as simple as it was telling: “Yes, you.” Parmeter noted, “You have a bunch of epiphanies over the course of your experience here [in Iraq], and it made me think: How are we perceived, who are we to them?”

Americans may see themselves as liberators, but to the Iraqis and so many other peoples Washington has targeted with its drones, jets, and high-tech weaponry, we are the invaders.

Do you recall what the aliens were after in the first Independence Day movie? Resources. In that film, they were compared to locusts, traveling from planet to planet, stripping them of their valuables while killing their inhabitants. These days, that narrative should sound a lot less alien to us. After all, would Washington have committed itself quite so fully to the Greater Middle East if it hadn’t possessed all that oil so vital to our consumption-driven way of life? That’s what the Carter Doctrine of 1980 was about: it defined the Persian Gulf as a U.S. “vital interest” precisely because, to quote former Deputy Secretary of Defense Paul Wolfowitz’s apt description of Iraq, it “floats on a sea of oil.”

Of Cold War Memories and Imperial Storm Troopers

Whether anyone notices or not, alien invasion flicks offer a telling analogy when it comes to the destructive reality of Washington’s global ambitions; so, too, do “space operas” like Star Wars. I’m a fan of George Lucas’s original trilogy, which appeared in my formative years. When I saw them in the midst of the Cold War, I never doubted that Darth Vader’s authoritarian Empire in a galaxy far, far away was the Soviet Union. Weren’t the Soviets, whom President Ronald Reagan would dub “the evil empire,” bent on imperial domination? Didn’t they have the equivalent of storm troopers, and wasn’t it our job to “contain” that threat?

Like most young Americans then, I saw myself as a plucky rebel, a mixture of the free-wheeling, wisecracking Han Solo and the fresh-faced, idealistic Luke Skywalker. Of course, George Lucas had a darker, more complex vision in mind, one in which President Richard Nixon, not some sclerotic Soviet premier, provided a model for the power-mad emperor, while the lovable Ewoks in The Return of the Jedi — with their simple if effective weaponry and their anti-imperial insurgent tactics — were clearly meant to evoke Vietnamese resistance forces in an American war that Lucas had loathed. But few enough Americans of the Cold War-era thought in such terms. (I didn’t.) It went without question that we weren’t the heartless evil empire. We were the Jedi! And metaphorically speaking, weren’t we the ones who, in the end, blew up the Soviet Death Star and won the Cold War?

How, then, did an increasingly gargantuan Pentagon become the Death Star of our moment? We even had our own Darth Vader in Dick Cheney, a vice president who actually took pride in the comparison.

Think for a moment, dear reader, about the optics of a typical twenty-first-century U.S. military intervention. As our troops deploy to places that for most Americans might as well be in a galaxy far, far away, with all their depersonalizing body armor and high-tech weaponry, they certainly have the look of imperial storm troopers.

I’m hardly the first person to notice this. As Iraq war veteran Roy Scranton recently wrote in the New York Times, “I was the faceless storm trooper, and the scrappy rebels were the Iraqis.” Ouch.

American troops in that country often moved about in huge MRAPs (mine-resistant, ambush-protected vehicles) described to me by an Army battalion commander as “ungainly” and “un-soldier like.” Along with M1 Abrams tanks and Bradley fighting vehicles, those MRAPs were the American equivalents of the Imperial Walkers in Star Wars. Such vehicles, my battalion commander friend noted drolly, were “not conducive to social engagements with Iraqis.”

It’s not the fault of the individual American soldier that, in these years, he’s been outfitted like a Star Wars storm trooper. His equipment is designed to be rugged and redundant, meaning difficult to break, but it comes at a cost. In Iraq, U.S. troops were often encased in 80 to 100 pounds of equipment, including a rifle, body armor, helmet, ammunition, water, radio, batteries, and night-vision goggles. And, light as they are, let’s not forget the ominous dark sunglasses meant to dim the glare of Iraq’s foreign sun.

Now, think how that soldier appeared to ordinary Iraqis — or Afghans, Yemenis, Libyans, or almost any other non-Western people. Wouldn’t he or she seem both intimidating and foreign, indeed, hostile and “alien,” especially while pointing a rifle at you and jabbering away in a foreign tongue? Of course, in Star Wars terms, it went both ways in Iraq. A colleague told me that during her time there, she heard American troops refer to Iraqis as “sand people,” the vicious desert raiders and scavengers of Star Wars. If “they” seem like vicious aliens to us, should we be surprised that we just might seem that way to them?

Meanwhile, consider the American enemy, whether the Taliban, al-Qaeda, or any of our other opponents of this era. Typically unburdened by heavy armor and loads of equipment, they move around in small bands, improvising as they go. Such “terrorists” — or “freedom fighters,” take your pick — more closely resemble (optically, at least) the plucky human survivors of Independence Day or the ragtag yet determined rebels of Star Wars than heavy patrols of U.S. troops do.

Now, think of the typical U.S. military response to the nimbleness and speed of such “rebels.” It usually involves deploying yet more and bigger technologies. The U.S. has even sent its version of Imperial Star Destroyers (we call them B-52s) to Syria and Iraq to take out “rebels” riding their version of Star Wars “speeders” (i.e. Toyota trucks).

To navigate and negotiate the complex “human terrain” (actual U.S. Army term) of “planets” like Iraq and Afghanistan, U.S. troops call on a range of space-age technologies, including direction-finding equipment, signal intercept, terrain modeling, and satellite navigation using GPS. The enemy, being part of that “human terrain,” has little need for such technology to “master” it. Since understanding alien cultures and their peculiar “human terrains” is not its forte, the U.S. military has been known to hire anthropologists to help it try to grasp the strange behaviors of the peoples of Planet Iraq and Planet Afghanistan.

Yet unlike the evil empire of Star Wars or the ruthless aliens of Independence Day, the U.S. military never claimed to be seeking total control (or destruction) of the lands it invaded, nor did it claim to desire the total annihilation of their populations (unless you count the “carpet bombing” fantasies of wannabe Sith Lord Ted Cruz). Instead, it promised to leave quickly once its liberating mission was accomplished, taking its troops, attack craft, and motherships with it.

After 15 years and counting on Planet Afghanistan and 13 on Planet Iraq, tell me again how those promises have played out.

In a Galaxy Far, Far Away

Consider it an irony of alien disaster movies that they manage to critique U.S. military ambitions vis-à-vis the “primitive” natives of far-off lands (even if none of us and few of the filmmakers know it). Like it or not, as the world’s sole superpower, dependent on advanced technology to implement its global ambitions, the U.S. provides a remarkably good model for the imperial and imperious aliens of our screen life.

We Americans, proud denizens of the land of the gun and of the only superpower left standing, don’t, of course, want to think of ourselves as aliens. Who does? We go to movies like Independence Day or Star Wars to identify with the outgunned rebels. Evidence to the contrary, we still think of ourselves as the underdogs, the rebels, the liberators. And so — I still believe — we once were, a long time ago in a galaxy far, far away.

We need to get back to that time and that galaxy. But we don’t need a high-tech time machine or sci-fi wormhole to do so. Instead, we need to take a long hard look at ourselves. Like Pogo, we need to be willing to see the evidence of our own invasive nature. Only then can we begin to become the kind of land we say we want to be.

 

A TomDispatch regular, William Astore is a retired lieutenant colonel (USAF) and history professor. He blogs at Bracing Views.

Saturday Matinee: Holiday Double Feature

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Films and videos don’t always gain a cult following because they’re good. Case in point is the “Star Wars Holiday Special” (1978), the first official spin-off which was only broadcast once and never released on home video. George Lucas was rumored to have been personally involved in keeping it hidden since he considered it such an embarrassment. Because of its rarity and underground status, bootlegs of the original broadcast were long sought after by fans of Star Wars and obscure cinema.

As holiday specials go, it has a fairly standard flimsy narrative that strings together a variety of celebrity cameos, comedic skits and musical numbers. What sets it apart are appearances by all the main characters of the film and the strained attempt to fit them into a 70s holiday variety program. Comedians like Bea Arthur, Art Carny, and Harvey Korman or musicians like Diahann Carroll and Jefferson Starship don’t seem to belong in the same universe of Star Wars much less the same television program. Though much of the comedy and guest appearances fall flat and the production as a whole reeks of crass commercialism and cloying sentimentality, it does have moments of inspired weirdness that might make it worth seeing by hardcore Star Wars fans, paracinephiles, and/or stoners.

This is a 15 minute “fan edit” version of the Star Wars Holiday Special:

In contrast to the Star Wars special, the “Pee Wee’s Playhouse Christmas Special” (1988) is an example of how similar holiday tropes can be used more creatively towards an equally bizarre but more satisfying end result. The campy, self-aware and subtly subversive tone of Pee Wee’s Playhouse is better suited for the “pop culture mash-up” aspect of holiday specials than the more self-contained world of Star Wars. It also helps that Pee Wee’s show is written with more humor and wit and features an eclectic mix of guests who all seem to be having fun.

The roster of celebrities include Annette Funicello, Frankie Avalon, Grace Jones, K.D. Lang, Little Richard, Cher, Magic Johnson, Whoopi Goldberg, Oprah Winfrey, Charo and Laurence Fishburne among others. Like Pee Wee, they’re iconic and have collective appeal that transcends age, race and gender. They’re also perfect guest stars for a throwback to televised holiday events of the past with a postmodern and absurdist sensibility.