THE SOUNDS OF RESTORATION
The first thing that comes to mind when you think about a film is an image Rarely a sound.
When we talk about how a film sounds, we need to start with the artistic aspect, as that’s how we’re going to search for a sound that is in line with the story and characters. In the case of The Restoration, the story demanded that all the sounds emanate from what Marcia sees and feels in each moment, as it is an extremely subjective film.
Hugo Race, an Australian musician and former guitarist of Nick Cave and the Bad Seeds, was in charge of composing the original soundtrack based on this premise, creating each sound with the intention that they would only be recognizable for short periods of time. Sounds that are completely unintelligible take shape in the head of the protagonist. Voices and shadows of a flickering dream that only she understands.
In the initial meetings, Hugo quickly came up with the idea of likening the calmness of the main character to the sound of the piano, a recurring theme throughout the entire film in the moments when Marcia lets herself go and continues her daily life.
Álex Marais designed the sound framework with the same premise and, working together with Hugo for 10 months, completed the mastering in 5.1 surround.
To enhance the subjective element, Marais suggested the idea of capturing background sounds with binaural microphones, in order to control their position as Marcia moved through different locations.
The result is a film created with the purpose of being seen in the cinema, in order to fully enjoy all its sound elements.
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