Mulholland drive jumpscare8/16/2023 In Mulholland Drive, the director tells you right at the beginning where the scare is coming from, and it still catches us unawares. In most horror films the jump comes from places that are not obvious. The jump scare is easily one of the greatest ever. In the Winkie’s scene the camera sways, bobbing and weaving – totally unlike Lynch. When he collapses the sounds are muffled again, and you hear heartbeats.ĭavid Lynch is known for not moving the camera haphazardly. Lynch drags it on, compounding the man’s misery, and ours.Īnd finally you get the jump scare. Then there’s clicking sounds, raising the stakes as we get closer. These sounds build up and change during the course of the conversation, slowly and steadily, and it’s all leading up to their visit behind the diner, to what’s behind the wall. It seems like the traffic is muffled, coming through a filter of some sort, like the sound you get in a subway – or what you hear when you close your ears with your hands. The traffic gives way to complete silence. You’re not completely aware of the transitions. Then it moves into different soundscapes as the scene progresses. It starts off simply enough, where you have a police siren and traffic outside. It’s not possible unless you’re knee deep passionate about sound design and you’ve had years of experience to back it up.Īn example is the famous early scene at Winkie’s. The selection of sounds in this context is tricky. What is obvious though, to anyone who watches it, is the powerful music score and sound effects that force you to experience the film in the precise way the director intended it.Īll it takes is a wrong song or sound effect to ruin a mood. He has never revealed what actually happens in the film, and it is open to interpretation. Mulholland Drive is a mystery story, not in your typical sense, of course. Sound and music is more a part of his artistic toolset than for most directors, and it is for this reason he deserves greater recognition than he has received. Not many people know this, but he had, maybe still has, his own studio where he experiments with creating different sounds to inspire him. Usually he’s credited as a sound designer as well. Sound is the often neglected better half of cinema.ĭavid Lynch is totally hands-on in sound design. However, where he excels above other great directors is in sound design. David Lynch, too, is a master at creating surreal visual imagery that blends in ways unique to his style. In the first few films of this series, we looked at directors who were masters of the visual medium. What makes a film great? Technical artistry
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