So the frequency we use varies, and often ran into the music. “The reality is far from that, and also a persistent high-pitched tone would soon have audiences covering their ears and getting pretty fed up. “The whole movie is based on the lead character having tinnitus, so special care had to be taken in representing this - it wasn’t just a case of putting a 6Hz tone over everything,” he explains. That this never comes across as gimmicky is attested to by the 94% rating the film enjoys on Rotten Tomatoes, and is largely down to the sound design of long-time Wright collaborator, Julian Slater, and the work of many others in the audio department including re-recording mixer, Tim Cavagin. The film is told from his aural perspective and the result is a movie that plays out with its soundtrack very much to the fore, with the action choreographed to the music. All Rights Reserved.ĭirected by Edgar Wright ( Shaun of the Dead, Hot Fuzz) and due to be screened at The IBC Big Screen, the movie tells the tale of a getaway driver - the titular ‘Baby’ - who suffers from tinnitus and constantly plugs into earphones to mask the nagging hum of his ringing ears.
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