The Intruder wraps today with some pickups and the remainder of the visual effects shots needed for the end of the film. The crew, whose job is strictly production, are already thinking ahead to the next location. But for those of us who are firmly grounded in post, our job is just beginning.
FP Rec Arts students were fortunate enough to have several conversations earlier in the week with Director Mikael Kreuzriegler about ideas for sound design. We began first with the words "ethereal" and "eerie," and perhaps as a layer or texture beneath the delicacy "the feeling that something is off." We talked about styles of music and how much of it will work its way into the film. And because there is so little dialogue, the use of up-close "studio, not soundstage," ADR may actually help to create a slightly unusual sensation. Lastly, Mikael explained that he usually hears the entire soundtrack in his head while shooting, but this film is different.
For sound designers, that's code for "freedom." So, we left the set Wednesday and had a great brainstorming session in the morning followed by an afternoon of effects gathering and research. Yesterday, we started dropping some cut effects on the timeline of a short assembly and recorded Foley to try to get a feel for the entry and living room spaces. Our goals were not too ambitious, just sketching a few ideas to play for Mikael. Today, we'll fine-tune footsteps, clothing moves, and some of the phone and record player gags in the script.
In the end, it's entirely possible that some or all of this work will not remain, but Rec Arts students are engaging in the part of the postproduction process that cannot be learned in books, that cannot be absorbed through lecture, rather, is only discovered experientially with a lot of exploration. The Intruder's soundtrack will be better because of it, and along the way, young Flashpoint sound designers will to.