on Bandcamp Friday it's nice to treat myself to a good soundtrack. Today it's Mark Jenkin's mesmerising drone score to his own film BAIT. One of the most interesting filmmakers working the UK for absolutely years, bold and creative and doing their own thing. @invadarecords.bsky.social

I wonder, what is best way to view a film to benefits the filmmakers the most? I little understand the economics of how the money filters through and to whom, but have experience about how it works in the music industry. Cinema viewing? Pay per view stream? DVD?Or does it make any difference at all?

📣Artists announcement! Suzy Mangion & Andrea Pazos are our artists for DD Day 2025 Commission 2 (of 3) 🎥🎵 ‌ We are so looking forward to what Delia inspires this time! 🤓 ‌ With thanks to support from National Lottery Heritage Fund and @thejohnrylands.bsky.social

Big - exciting - news - watch this space. So highly recommended.

Electronic sounds were by Rupert Hine, including the shout itself. Like Odysseus braving the Sirens, Hurt puts wax in his ears to hear what he craves. The processed roar combines with imposing visuals - Bates’s physical weight, dead sheep rolling down, wind sweeping and Hurt’s visible shock. 📽️🎥

But the most central music in THE SHOUT comes from Anthony’s musique concrète studio. This is one of the most truthful onscreen depictions of a composer’s studio I’ve seen. Part Radiophonic Workshop part holiday home, it’s a creative space of reel-to-reel, delays and reverbs, scribbled notes. 📽️ 🎥

Synthesiser music was composed by Tony Banks & Mike Rutherford, founding members of Genesis, but don’t let that put you off - it’s a suitably dreamlike, eerie score, carefully placed at key moments, and in line with film synth music of the period from the likes of Brian Eno or Tangerine Dream. 📽️

Even before the horror-magic of the pivotal sounds (the shout, the scraping of bone, the close-up voice) we are in a pitch perfect audio world of heavy warmth, cricket, threatening thunder, woodpigeons, cows mooing, voices murmuring. Gorgeously rich voices - Alan Bates, Tim Curry, Robert Stephens.

Resolutely dreamlike in tone and plot, it rewards the viewer with wonderful unresolved feelings. Sound is used & edited with utmost care from the uncanny opening sequence onwards, surely one of the most effective evocations of an onscreen nightmare. It’s UK sound team was second-to-none.

THE SHOUT (Skolimowsky, 1978) I never tire of this extraordinary film - electronic composer Anthony (John Hurt) encounters a sinister wanderer (Alan Bates) and follows the risk of his fascination with sound to hear a shout that supposedly kills people. It is in an elite of great films about sound.

Adored this Walter Murch episode. Wonderful. All the favs, even the sound of the Wheelers. @drmatthewsweet.bsky.social @bbcradio3bot.bsky.social 📽️ #filmsound #cinema #film #soundofcinema

I’ll be posting about the extraordinary work of Karel Zeman when I take a look-listen to THE FABULOUS BARON MUNCHAUSEN

An episode of SOUND OF CINEMA that looks at my Mastermind specialist subject - and well made too by @drmatthewsweet.bsky.social

Delighted to get this new book for my birthday… by the legendary Walter Murch, the ‘godfather of sound design’, and director of RETURN TO OZ! Great mix of studio specifics and general film thought. 📽️🎞️🎬 #filmsound #cinema #waltermurch

In Blow-Up, Jeff Beck throws away the head of his guitar; outside the club, it is thrown away again. ‘So it is with Thomas’ experience,’ says Juli Kearns @idyllopus.bsky.social, ‘which has left him with a token that no one else can decipher, its meaning lost upon others, a useless artifact.’

Antonioni used a large sound dept for the time. 9 people, some of whom worked on other sonically masterful films such as 2001, THE MAN WHO FELL TO EARTH, LA DOLCE VITA, & THE ELEPHANT MAN. And not forgetting THAT soundtrack, by the one & only Herbert (sic) Hancock. (BLOW UP 5/5) #filmsound 📽️

London has rarely felt so real on film, yet so different to how it actually is. In this incredible, outsider’s evocation the city isn’t as noisy as it truly is, and we hear & see more detail than usual. It’s a London that doesn’t roar, rendered mysterious & audible. (BLOW UP 4/5) #filmsound 📽️

Then there’s the park, the heart of the mystery. Field recordists will recognise sounds blanketing these scenes: constant rustle, white noise of trees in light wind, swooshing, with occasional birdsong. When Hemmings blows up photos he’s taken there, the sounds return. ( BLOW UP 3/5) #filmsound 📽️

It's all about the details. What is seen & scrutinised, but also heard. Records & radios. Trickling water in a darkroom during long developing sessions. Accentuated camera shutter clicks with each photo taken. Tennis balls gently thwacked, sound carrying across a deserted park. (2/5) #filmsound 📽️

For a film so invested in the visual it’s interesting how important sound is in BLOW UP (Antonioni, 1966). As in Antonioni’s preceding & following work, dialogue is not the driver. People talk, but it never flows, or communicates effectively, or renders the right information. (1/5) #filmsound 📽️

“After a guy watched Enys Men in Brighton he told me: 'the sound of your film went through my body, and it damaged my internal organs!'“ Victor Fraga interviews the inventive Cornish director, as he presents his new creation at Karlovy Vary: dmovies.org/2025/07/09/o...

Before David Attenborough and Blue Planet, before even Jacques Cousteau, there was Jean Painlevé. Making extraordinary films about sea life, with extraordinary soundtracks. He made 2 shorts about sea urchins, in 1929 & 1954, but the second OURSINS was scored with what he called “organised noise”📽️1/4

Not an audio post, but a mental game I play out of curiosity. After watching a film, I like to flip the genders of every single role, to see where it would go. I always find this eye-opening and surprising. Most films I watch don't pass the BECHDEL TEST. I call this one the MANGION REVERSAL. 📽️1/2

‘The wind up at the palace blows 7 days a week’. There’s a lot I could say about BLACK NARCISSUS (Powell & Pressburger, 1947), but on this hot day I’m thinking how effectively it conveys feelings of climate entirely through sound & image, despite being filmed at Pinewood Studios, UK. 📽️ #cinema

Lalo Schifrin, composer of Mission: Impossible theme and more than 100 film and TV scores, dies aged 93

Bob Fosse, June 23, 1927 – September 23, 1987. Liza Minnelli on the set of Cabaret (1972).

📢We’re excited to announce our 2025 10th Anniversary Heritage Project 📢 Watch this space for more details! Thanks to UK Heritage Fund and our wonderful partners, @mcrhistories.bsky.social, Manchester Central Library & @thejohnrylands.bsky.social 📸| Andrea Pazos #deliaderbyshireday #deliaderbyshire

Sound effects come to the fore in Tati’s films from the start. The narrative is loose, barely there. The dialogue drifts in and out of intelligibility, often not even translated by the subtitles, but staying just as sound. Tati's world is a slow cartoon of audiovisual jokes, curious & unique. (1/3 )

Not to mention the stunning soundtrack by Lubos Fiser… the book is pretty great too, for a Surrealist novel, which frequently lean to the unreadable…

I'll begin with a silent joke from 1929. The seminal Surrealist Un Chien Andalou (Buñuel & Dalí) lampooned standard silent film conventions of ‘silent sound’. A doorbell rings, a cocktail shaker sounds. The visual montage makes us ‘hear’ the unexpected imaginary audio.

The Film in the Other Room is an account I’ve set up to share some of my thoughts & knowledge about screen sound, a subject I’m passionate about. Regular postings soon.