LOVE & INFORMATION

Sound Design

Caryl Churchill's use of fragmented and contrasting scenes in this play reminded me of the tone and styles of The Twilight Zone and Black Mirror. I sought to push the boundaries of audience expectations through soundscapes that would also evoke contrasting emotions by creating unique soundscapes for each scene.

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A lot of my inspiration came from the art movements of Surrealism and Postmodernism with specific examples from David Lynch and Atticus Ross. Lynch's Eraserhead is heavily composed with distorted industrial sounds in creating an unending void and Ross' Love & Mercy utilizes fragments of music and studio takes of The Beach Boys and their music in its own style. Furthermore, I came across the work of Amon Tobin's Foley Room where the use of recorded foley was manipulated into fully composed works of music and moods. 

Fate


Soundscape 1
Terminal
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