Cinema of Noise #8 courtesy of rszoniq (http://www NULL.rszoniq NULL.com/cinema/#/cinema-of-noise-11-20-1/)

“I learnt from the age of 16 that you could convey an inner world after hearing Alan Splet’s sound design on Eraserhead. I also soon realised that it’s rare to find film people who are also music people or vice versa. It’s so strange — you could meet someone into Feher Gyorgy or Béla Tarr, but they listen to very middle-of-the-road music. So I was aware of this unexplored niche in terms of informing film with a whole new world of sonic ideas. Hearing is a far more active human sense than sight. As a filmmaker, your potential to ignite an audience’s imagination is far greater through using sound. With images, most of the work is done for us, but with sound, you´re filling in the gaps and that is very exciting and provocative for an audience. Sound also offers the spatial dimension that the image can’t always do. Bresson gave us a whole outside world in A Man Escaped, and we yearn for it even more since we’re trapped inside a cell.” – Portrait of a Soundscapist: An Interview with Peter Strickland (http://brightlightsfilm NULL.com/portrait-of-a-soundscapist-an-interview-with-peter-strickland/# NULL.VWArtWYxk18)

Cinema of Noise #6 courtesy of rszoniq (http://www NULL.rszoniq NULL.com/cinema/#/cinema-of-noise-11-20-1/)

Cinema of Noise #4 courtesy of rszoniq (http://www NULL.rszoniq NULL.com/cinema/#/cinema-of-noise-11-20-1/)