Vic Effects (2025) Movie Script
1
Beep's ready.
Beep beep.
Let's make a documentary.
When we watch a movie
or a TV show, our
brains are at work
making sense not of
what we see, but
of what we hear.
Victoria, or should
I say Vic Pette's
job as a Foley artist
at Comfort Zone.
Studios, is to recreate
the soundsscapes
to immerse us in the moment.
She's created amazing
sound textures for
indie horror classics
such as Cyclone.
Base 9, The Crescent
Moon Shines Over.
Nightmares,
Suffocated Screams,
and her latest film,
The Blood Unbroken Wings.
What is the art of
Foley? So the art of
foley is adding
sound to things like
movies, TV, ads, video games.
Uh for stuff like
touching, walking,
even kissing. Uh in
my case, I add sound
for things like
stabbings, having flesh
ripped open or heads
chopped off, you
know, fun [ ] like that.
Uh, but what's cool
about horror, which
is mostly what I
do, is you get to do
this really absurd
things to create the
sounds and the texture
and illusion in
the film. And I
mean, you know, you
could use pre-recorded
sounds, but I
mean, what's the fun
in that? I'd rather
do some really cool,
clever tricks to
- make something really
interesting and. - More real.
Vic has been doing
sound effects work
for six years and has
quickly become the
go-to foley extraordinaire
for the indie
horror world.
Any chance we have
to add sound to a
scene, we'll do it.
So, even if it's
something super
simple like a choking
scene, I've got
this really cool rig
where it's these
two plastic bottles
duct taped together
and I just twist the
crap out of it and
it creates this
really sick like
crunching crackling
sound. Just adds
an extra layer of
- texture that just takes it to
the next. - Level.
In this scene from
the movie The.
Crescent Moon Shines
over nightmares,
you see the killer
pry open his victim's
mouth as he unhinged his jaw
ferociously. That
disgusting oozing
cracking you hear is
actually two layers
of vegetables cracked
and snapped. Also
adding a layer of wet
gravel handled by.
Vic to give it an
even more crumbling
sound. The team
behind the film went
above and beyond the
over-the-top gore.
And every act had to
follow the movement
on screen while living
up to the thrills
the fans expect.
I think this movie
is by far the goriest
I've ever worked on.
So once we get some
kind of picture
lock, then we'll
start to prep for all
the shots we'll be
taking cuz Vic likes
to get every detail
of everything that's
on the screen. And
I mean everything.
- And then it's my job to make
that bad. - Boy pop.
Okay. Yep.
What really works
for Vic and I is that
we have very clear communication
with each other and
everything we're
going to do. And no
matter what, we make
sure the story is the priority.
But we do a lot of
stuff to enhance it,
too.
To make all that
gore believable, Vic
needed everything
to make it sound as
organic as possible.
She focused on
capturing sound from
real objects, so
nothing was overly
processed. And while
some sound was
used from a digital
library, most of the
effects came from
what Vic organically
created. I'm a big
fan of pistachios and
also kind of lazy.
So, as I eat them,
I've just been
tossing the shells in this can.
And I realized that
the sound of these
shells moving around
can add a really
cool like texture and
sound and a little
something extra to
these scenes. There's
all kinds of just
interesting stuff you
can do with these.
So, this one, uh,
we kind of had this
lowbudget sci-fi
thing we did, and they
had these, um, like
astronaut helmets,
and they had this
sort of like clicky
sound when they
attached everything.
Sounds very similar.
So, a friend of mine had a baby
recently, and I
discovered that these
little baby books
make all kinds of
interesting sounds,
too. So, this one
sounds kind of like
walking through
snow.
Just gives it that
little bit of crunchy
texture that really
helps sell the snow.
So, this little guy
was actually Coop's
idea. Um, you can wind it up,
maybe.
Did I break it?
Oh, there it goes.
And that sound, if
you speed it up,
do a whole bunch of
them later each
other, form a bees.
We'll blame Coupe
for it not working.
You know, people
always talk about movie
magic. To me, movie
magic is being able
to take something
like a simple celery
stick or pistachio
shells in a can and
turning that into
something totally
different on screen
that you see and
hear. That is magic.
Oh [ ] Wes Craven
directed porno
before he did Nightmare
on Elm Street.
That's got to be
some [ ] up porno.
Sure there's a porno
out there somewhere
with Freddy fingering
some girl having a
wet dream.
Oh, harsh.
Why you looking it up then?
Harsh but clever.
Why don't you just call her?
Say what?
I don't know.
Something. Anything.
Those
honey crisps we have
are [ ] Every
time I try to make
that skull crunching
sound, it just sounds
like I'm eating a
[ ] apple.
Yeah. Well, I mean,
that's exactly what
you're doing.
You know what I mean.
I'm going to head
to that mom and pop
down the street and
get some new ones.
Gotcha.
Say something.
Yeah.
What uh what truly gets people's
attention?
What gets their
attention is rage.
Yeah. The way it looks,
the way it feels,
especially especially
the way it sounds,
you can't help but
but gravitate to it.
Whether you want it or not,
it can linger in
your very being.
And uh and
that is God.
Yeah, that's how
it speaks to us.
God.
Do you believe in God?
I guess.
We all believe in something. But
it doesn't mean that
that uh that you
call it God.
What I do is uh
I I evoke emotion.
I open up a sense
of satisfaction
that is
perverse and wicked but
keeps you in balance
because at the end of the day I
I push junk around
and it uh creates
a mad and getting his
skull crushed into
teeny tiny pieces. Uh,
a demon.
A demon bursting
out of a human's
insides.
I have this canvas
and my job is to
paint on this canvas.
And
sometimes you you go
beyond what should
be on there, but
it's all in the details.
It's not real.
So you just build absurdity.
And that is what is
so fulfilling about
it.
That's God.
At least to me.
So the bottom line
is you've you've got
to have patience
otherwise your own
frustrations are
going to end up proving to be a
distraction.
I
Okay. Uh most people
can juggle two
balls at a time,
right? Uh three is
something four you
just cut that out.
Stick with two or
three. Uh, two is
usually all you need,
but Thomas, wow.
Thomas had moments
where he could do six
at a time, and it's
doubtful that you'll
ever need that
many, but if you do,
you'll know it when
the time comes.
So, I mean, what's
it like working with.
Thomas Raven? I mean,
my my my god, that
movie Holy Bloody
Hearts, where that
falling demon angel
caves in Casey's
chest. I mean, that
sound was insane.
Thomas has passed away.
Wait, what?
Uh, yeah. Um, we've been
waiting to announce
it, but a couple of
weeks ago, Thomas passed away.
Actually, that's why
I'm here talking to
you right now.
So,
so like how uh how'd he die?
Tired out. I think
doing this job for 40
years finally took
its toll, I suppose.
So, was he working on a a film?
Yeah. Actually,
something a little
different than
what we're used to.
He admired you, Vicki.
Oh my god, that that
Mr. Raven admired
me. I mean, he's
an idol of mine. I
really just copied
what he was doing.
He was listening to
a symphony in his
head when he heard
the sound design that
you did for your last
film, Missileless.
Curse. Uh when she's
choking Braun, that
sound that he made
when she thrusts her
tentacle up inside
him and pulls his
heart out slowly
through his butt. What
was that?
Uh it was just a
kettle times 20 pitch
shift with a woman
scream pitch down
played backwards.
You know, Thomas
shed a tear when he
heard that. Yeah.
Is like that sound
made him feel Bron's pain.
Which is why I believe
that you should
finish the film. And
I know Thomas would
want that as well.
It'd be an honor.
Holy [ ] [ ]
Oh, [ ] Um, sorry.
Sorry. Um,
okay. So, I think that's a yes.
Yes. Yes.
Excellent. Excellent.
Um, we're going to
need to get started
as soon as possible.
So,
Sure. Yeah. As soon
as possible. Uh we
are working on a movie
right now, but um
in a few a few weeks.
Three. You can have
three weeks, but uh
we're on a really
tight deadline, so I
will absolutely
need you by then.
We can do three. And doable.
Yeah, just send us
the footage. We'll
check it out.
Indeed, I will.
This is [ ] awesome.
Indeed it is,
Cooper. Indeed it is.
It's Coupe. Uh, a
lot of people think
it's short for
Cooper, but it's just.
Coupe.
So, so thank you
so much, Mr. Kemp,
really for this opportunity.
I will leave you
to get to it then.
A pleasure meeting you, Vic.
You as well.
You, too.
Pleasure,
Coop.
Looking forward to
working with you.
I will be seeing you again
very soon.
Mhm. This is huge.
Massive.
Yeah. Yeah. Okay.
All right. Let's uh
let's finish up this
other movie. Okay.
Uh let's throw another
layer on the on
that sound. We need
to make it a little
thicker.
Okay. And I'm going
to add some filters
to kind of clean it up.
Sweet. Sounds great. All right.
Hey, it's me. Just
calling to say I hope
you're doing okay.
I don't really know
what to say anymore.
I mean,
said I'm sorry a
lot. Doesn't seem to
change anything. So,
so I'll just call
to say I hope you're
doing okay and I
suck and I'm a shitty
person and I
I'm sorry and I love you.
Just call me back. Okay.
Bye.
I uh enjoy life's
random realities,
but it doesn't
mean I want to live
there.
It's a dark place for me.
Creating these
textures gives me a a
sense of calm.
Silly movies, silly sounds.
But when I go back
into these these
realities that the
silly sounds are no more.
But I wonder.
Anyway, I
at the end of the
day, I suppose you you
could say I've I've
lived a fulfilled
life
full of silly sounds.
And random realities.
Hey,
this whole leaving
you a voicemail thing
really sucks. Maybe
you didn't get my
other messages. So, um
I just really think
we should talk like
for real in person.
You know where to
find me. Same as
always. So,
I love you.
Bye.
What? What the [
] Get off me. What
the [ ]
Get Let go of me.
Get off me.
Get off me.
I
I think I got to add
something to those
footsteps. It just
it needs something.
And I want to redo
that breathing. That
[ ] was weird.
All right. What do
you think was weird
about it?
I don't know, man.
My headache's just
[ ] stupid right
now. I think I need
to be done.
All right. I got
Seinfeld, a beef
sandwich, and Ice
Cold Dr. Pepper
waiting on me, so
I'm going to head
home.
All right. Noon tomorrow.
Sound good?
Shut the [ ] up.
Hey, did you hear that?
Uh, no.
You didn't hear that
really loud bang?
Was that hoes not
doing it for you?
What?
Vic, are you good?
You're telling me
you didn't hear that
loud ass bang? Just now.
Look, let's just
go on to the next
scene. Okay,
maybe we should take five.
Let's go on to the next scene.
Yep.
Where you going?
A conversation needs to be had.
This whole ignoring
me thing is getting
really [ ] old. Okay, I just
I need to hear your
voice. I'm really
[ ] up right now and
just call me back. Okay,
bye.
Oh [ ] you startled me.
That wasn't my intention.
Actually, I need to talk to you.
Yeah, I kind of got
the impression you
needed to.
So, what is this movie
actually about? I
mean, I get that
it's like a torture
pornish sort of
thing, but something's
just off.
With all due respect, Vic,
don't you ever again
refer to my films
as poor.
That was a little
harsh, but you haven't
finished your job
yet, so it's a little
unfair to be
judging prematurely.
Wouldn't you agree?
You're You're so
right, Mr. Kemp. I'm
I'm sorry if I offended
you in any way.
I'm just trying to
figure this out the
best way I know how.
Okay, look, I I
believe you're doing
just fine, Vic, but
the reason I'm here
is I brought some
items that I want you
to use in the movie,
and I think you're
going to be pretty
excited about this.
This can't be real right now.
Oh, it's very real,
Vic. Very, very
real. I know these
are in good hands
because they are in your hands.
What I want you to
do is use these items
to uh explore the
essence of how sound
can be used to alter someone's
perception of what
is even possible when
ripping a person's
heart out of their
body. I mean, I
heard you. Tom heard
you.
They will hear you.
I just I just can't
believe this is
real. I mean, I feel
like I'm on another
planet right now.
I mean, I always
admired Mr. Raven
from afar, but I had
no idea he was
watching my career so
closely.
I wish I could thank him.
You
know, Tom was a a
proud man. Took the
artist sound design
far beyond what you
hear in the movies.
And his films
weren't masterpieces
by any stretch of
the imagination, but
uh the lie worked.
You know, he told me
once he liked to go
into a theater with
regular people. He
didn't like to go
to premieres or
anything like that.
And he'd look for
the person that
squirmed the most. Said
he liked to sit next
to them so that he
could hear their
bones crack when their
body jerked in an
uncomfortable theater
seat.
Bad posture is always
inevitable when
watching a gruesome
film or uh at least
it is most of the time.
Anyway, I will let
you get to it. Uh,
this film, like I
said, is different
from what we've done
before, but watch
it, understand it,
use these items, feel
confused, but, you
know, make it your
own with with what you know.
I don't need you
to give me periodic
updates of how things
are going so far.
I trust that you know
how to put all the
pieces together.
So,
I will see you soon.
The way the light sees the dark
and the dark
sees nothing.
The way the light
sees the dark and the
dark sees nothing.
What is that? What
does that even mean?
Back.
When a vampire
makes love to a robot
which is mostly made
of metal. I think
we can assume that a
vampire's nails are
very sharp. At least
I would think so.
There there needed
to be pinpoint
details on how this
vampire would touch
metal. So
I used this
to convey the touch
of a vampire's hands
caressing a cyborg.
Also, I used it to
to create a a harsh
sound that I could
use if I were to
score a film, which
I've done from time
to time.
But, as I've always said,
we are orchestrating
a wall of madness.
Louis dry door.
She locked me in.
That's it.
From what I see,
just kind of blacks
out. So, I don't
uh This movie is
[ ] weird. Like,
not a good weird,
like a [ ] up
weird. Like, what's the
point?
All right, just uh
fast forward to the
next scene.
I kind of feel like
we should take a
break.
Fast forward to the
next scene. Coupe,
the [ ] is this
movie anyway, man? It's
like, is it even in
the right order? Or
like, is there an
order? I mean, [ ]
Next scene, Coupe.
I'm taking a break.
Coupe, you good?
Coupe, you okay?
Vic
interpost.
What?
Hey, uh, you you good?
I heard that loud
bang. I thought you
busted your [ ] or
something.
You said 10 minutes.
Are you ready?
Yeah. Uh, right
out of the black.
Yeah. Still some
weird [ ] though.
Hey. Um,
I I need a beer and
a break right now.
What?
I need a drink.
Fine by me.
So that's it for
this film then, huh?
I had no [ ] clue, man.
Milo Kimp gave me
all this Thomas Raven
[ ] and what? Now
the movie's over.
He gave you all that
[ ] just for this
movie.
That's what he said.
I don't know. I probably
need to talk to.
Milo.
I don't know how to explain it.
Something
something happens
when I touch Thomas.
Raven's props. It's like
enhanced
somehow. Like I'm
like I'm inside these
things he created.
So you just explained it then.
How do you mean.
I don't know, Vic.
You see, you can't
explain it, but
you're obviously
locked in with this guy
and [ ] is getting wild
and the whole project
is just getting
beyond what we thought
it was going to
be initially. And I
know I just turn the
knobs and whatever,
but that's how it
feels.
Do you have Milo Kemp's number?
You realize that guy
just like showed up
out of nowhere,
right? I can barely
remember his name is Milo.
All right. Well, I
think I'm going to
head home. I mean,
there's really
nothing else we can
do here besides I
want to get a real beer.
All right. Tomorrow then?
Yeah.
All right. See you
later. See you.
It's fine. Um, I I
wanted to chat with
you anyway. I I didn't
have your number.
Yeah, that sure.
How did he die?
Cool. So, we'll call
it here. Uh, you
got time next week?
Yeah, I can come by Saturday.
That works.
3:00.
Cool. Yeah. Yeah.
Sounds good. Sounds
good. Sounds good.
Do a little something
with the snare if
you could and the hook.
Bring it I needed
to really jump out.
But oh man, I love
it, man. Sounds
cool. All right, man.
See you next week.
Yep. Peace.
Bye.
Okay. Wow, I smiled.
You don't smile
back at all. Goodbye.
Come on, man.
Hey, it's me. Just
calling to say I hope
you're doing okay.
I don't really know
what to say anymore.
I mean,
said I'm sorry a lot.
It doesn't seem to
change anything. So,
guess I'll just
call to say I hope
you're doing okay
and I suck and I'm a
shitty person and
I'm [ ] sorry
and I love.
Why?
Why?
I'm just doing my
job. Inflicting pain
on the ones you
love is your job.
I'm sorry. You're far
from sorry. You're
[ ] sick.
I can feel you shake
every night in the
corner of our bed,
breathing so hard
like you're running
from something.
You're too far into this, Vicki.
Now you're stuck.
Uh, what the [ ] Vic?
Just need you to
stay where you are,
Coupe. We'll get
this figured out.
No, something weird
is going on. What
the hell is happening?
Said, "We'll get"
this figured out.
He should be freaking
out right now and
"he should be running
away right now."
But he can't.
Can you, Vicki?
What the [ ] is
she talking about?
Don't do anything stupid. Coupe,
I think it's stupid
for me to stay in
this room right now.
And I need you to
stay in that [ ]
room right now until
we're finished.
[ ] this.
Are you [ ]
kidding me right now?
You got so caught
up in your emotions,
you forgot about everybody else.
And I loved you
so much.
I wanted to help
you in your journey.
But you left me behind
and in pain.
A pain that you
inflicted on me because
you thought it was
necessary for your
art.
So what now?
I don't know.
You created it.
And that is what is
so fulfilling about
it. That's God.
Beeps. Ready.
Beep.
Beep.
Are you happy now?
Not yet.
Oh, [ ]
I don't know.
Well, [ ]
That was something.
Yeah, someone was
smoking something
right now.
But it's a paycheck.
Yep.
You need some punches
here and there,
but we got some
motion. Good stuff.
Cool.
All right.
[ ]
[ ]
Damn it.
You okay?
Being clumsy again.
Okay. You need some help?
No, I'm good, man.
I'm a big boy. And
get myself up.
[ ]
I got a bad pain
in the bathroom.
Yo, John.
What?
Why am I on the screen, dude?
What?
The [ ]
Like, why I'm on the screen?
What do you mean?
Like, I'm literally
on the screen just
looking froze.
What have you been smoking?
Really? I don't know
what you're talking
about.
The [ ]
Well, 70%
of viewer engagement
and appreciation is
sound.
It should be
the craft around storytelling
in film.
Uh sound is crucial
for creating a story
and a world that
exceeds the boundaries of
two-dimensional space on screen.
What we hear,
what we hear tells
us there is uh
there's far more going
on or more that's
existing
and breathing than we can see.
It's a world that
goes so far as to
invade our real world because
sound waves rule over
three-dimensional
space.
Sound has uh no control.
It's there with uh
with unpredictability.
It vibrates all around us.
It's changing the
air that we occupy,
making the world a
a place of wonder.
It's a world of wonder
or cosmic horror.
We hear the wonder of of crashes
and clocks ticking,
scream like cries,
growing loudness,
uproars,
explosions.
And then silence.
Beep's ready.
Beep beep.
Let's make a documentary.
When we watch a movie
or a TV show, our
brains are at work
making sense not of
what we see, but
of what we hear.
Victoria, or should
I say Vic Pette's
job as a Foley artist
at Comfort Zone.
Studios, is to recreate
the soundsscapes
to immerse us in the moment.
She's created amazing
sound textures for
indie horror classics
such as Cyclone.
Base 9, The Crescent
Moon Shines Over.
Nightmares,
Suffocated Screams,
and her latest film,
The Blood Unbroken Wings.
What is the art of
Foley? So the art of
foley is adding
sound to things like
movies, TV, ads, video games.
Uh for stuff like
touching, walking,
even kissing. Uh in
my case, I add sound
for things like
stabbings, having flesh
ripped open or heads
chopped off, you
know, fun [ ] like that.
Uh, but what's cool
about horror, which
is mostly what I
do, is you get to do
this really absurd
things to create the
sounds and the texture
and illusion in
the film. And I
mean, you know, you
could use pre-recorded
sounds, but I
mean, what's the fun
in that? I'd rather
do some really cool,
clever tricks to
- make something really
interesting and. - More real.
Vic has been doing
sound effects work
for six years and has
quickly become the
go-to foley extraordinaire
for the indie
horror world.
Any chance we have
to add sound to a
scene, we'll do it.
So, even if it's
something super
simple like a choking
scene, I've got
this really cool rig
where it's these
two plastic bottles
duct taped together
and I just twist the
crap out of it and
it creates this
really sick like
crunching crackling
sound. Just adds
an extra layer of
- texture that just takes it to
the next. - Level.
In this scene from
the movie The.
Crescent Moon Shines
over nightmares,
you see the killer
pry open his victim's
mouth as he unhinged his jaw
ferociously. That
disgusting oozing
cracking you hear is
actually two layers
of vegetables cracked
and snapped. Also
adding a layer of wet
gravel handled by.
Vic to give it an
even more crumbling
sound. The team
behind the film went
above and beyond the
over-the-top gore.
And every act had to
follow the movement
on screen while living
up to the thrills
the fans expect.
I think this movie
is by far the goriest
I've ever worked on.
So once we get some
kind of picture
lock, then we'll
start to prep for all
the shots we'll be
taking cuz Vic likes
to get every detail
of everything that's
on the screen. And
I mean everything.
- And then it's my job to make
that bad. - Boy pop.
Okay. Yep.
What really works
for Vic and I is that
we have very clear communication
with each other and
everything we're
going to do. And no
matter what, we make
sure the story is the priority.
But we do a lot of
stuff to enhance it,
too.
To make all that
gore believable, Vic
needed everything
to make it sound as
organic as possible.
She focused on
capturing sound from
real objects, so
nothing was overly
processed. And while
some sound was
used from a digital
library, most of the
effects came from
what Vic organically
created. I'm a big
fan of pistachios and
also kind of lazy.
So, as I eat them,
I've just been
tossing the shells in this can.
And I realized that
the sound of these
shells moving around
can add a really
cool like texture and
sound and a little
something extra to
these scenes. There's
all kinds of just
interesting stuff you
can do with these.
So, this one, uh,
we kind of had this
lowbudget sci-fi
thing we did, and they
had these, um, like
astronaut helmets,
and they had this
sort of like clicky
sound when they
attached everything.
Sounds very similar.
So, a friend of mine had a baby
recently, and I
discovered that these
little baby books
make all kinds of
interesting sounds,
too. So, this one
sounds kind of like
walking through
snow.
Just gives it that
little bit of crunchy
texture that really
helps sell the snow.
So, this little guy
was actually Coop's
idea. Um, you can wind it up,
maybe.
Did I break it?
Oh, there it goes.
And that sound, if
you speed it up,
do a whole bunch of
them later each
other, form a bees.
We'll blame Coupe
for it not working.
You know, people
always talk about movie
magic. To me, movie
magic is being able
to take something
like a simple celery
stick or pistachio
shells in a can and
turning that into
something totally
different on screen
that you see and
hear. That is magic.
Oh [ ] Wes Craven
directed porno
before he did Nightmare
on Elm Street.
That's got to be
some [ ] up porno.
Sure there's a porno
out there somewhere
with Freddy fingering
some girl having a
wet dream.
Oh, harsh.
Why you looking it up then?
Harsh but clever.
Why don't you just call her?
Say what?
I don't know.
Something. Anything.
Those
honey crisps we have
are [ ] Every
time I try to make
that skull crunching
sound, it just sounds
like I'm eating a
[ ] apple.
Yeah. Well, I mean,
that's exactly what
you're doing.
You know what I mean.
I'm going to head
to that mom and pop
down the street and
get some new ones.
Gotcha.
Say something.
Yeah.
What uh what truly gets people's
attention?
What gets their
attention is rage.
Yeah. The way it looks,
the way it feels,
especially especially
the way it sounds,
you can't help but
but gravitate to it.
Whether you want it or not,
it can linger in
your very being.
And uh and
that is God.
Yeah, that's how
it speaks to us.
God.
Do you believe in God?
I guess.
We all believe in something. But
it doesn't mean that
that uh that you
call it God.
What I do is uh
I I evoke emotion.
I open up a sense
of satisfaction
that is
perverse and wicked but
keeps you in balance
because at the end of the day I
I push junk around
and it uh creates
a mad and getting his
skull crushed into
teeny tiny pieces. Uh,
a demon.
A demon bursting
out of a human's
insides.
I have this canvas
and my job is to
paint on this canvas.
And
sometimes you you go
beyond what should
be on there, but
it's all in the details.
It's not real.
So you just build absurdity.
And that is what is
so fulfilling about
it.
That's God.
At least to me.
So the bottom line
is you've you've got
to have patience
otherwise your own
frustrations are
going to end up proving to be a
distraction.
I
Okay. Uh most people
can juggle two
balls at a time,
right? Uh three is
something four you
just cut that out.
Stick with two or
three. Uh, two is
usually all you need,
but Thomas, wow.
Thomas had moments
where he could do six
at a time, and it's
doubtful that you'll
ever need that
many, but if you do,
you'll know it when
the time comes.
So, I mean, what's
it like working with.
Thomas Raven? I mean,
my my my god, that
movie Holy Bloody
Hearts, where that
falling demon angel
caves in Casey's
chest. I mean, that
sound was insane.
Thomas has passed away.
Wait, what?
Uh, yeah. Um, we've been
waiting to announce
it, but a couple of
weeks ago, Thomas passed away.
Actually, that's why
I'm here talking to
you right now.
So,
so like how uh how'd he die?
Tired out. I think
doing this job for 40
years finally took
its toll, I suppose.
So, was he working on a a film?
Yeah. Actually,
something a little
different than
what we're used to.
He admired you, Vicki.
Oh my god, that that
Mr. Raven admired
me. I mean, he's
an idol of mine. I
really just copied
what he was doing.
He was listening to
a symphony in his
head when he heard
the sound design that
you did for your last
film, Missileless.
Curse. Uh when she's
choking Braun, that
sound that he made
when she thrusts her
tentacle up inside
him and pulls his
heart out slowly
through his butt. What
was that?
Uh it was just a
kettle times 20 pitch
shift with a woman
scream pitch down
played backwards.
You know, Thomas
shed a tear when he
heard that. Yeah.
Is like that sound
made him feel Bron's pain.
Which is why I believe
that you should
finish the film. And
I know Thomas would
want that as well.
It'd be an honor.
Holy [ ] [ ]
Oh, [ ] Um, sorry.
Sorry. Um,
okay. So, I think that's a yes.
Yes. Yes.
Excellent. Excellent.
Um, we're going to
need to get started
as soon as possible.
So,
Sure. Yeah. As soon
as possible. Uh we
are working on a movie
right now, but um
in a few a few weeks.
Three. You can have
three weeks, but uh
we're on a really
tight deadline, so I
will absolutely
need you by then.
We can do three. And doable.
Yeah, just send us
the footage. We'll
check it out.
Indeed, I will.
This is [ ] awesome.
Indeed it is,
Cooper. Indeed it is.
It's Coupe. Uh, a
lot of people think
it's short for
Cooper, but it's just.
Coupe.
So, so thank you
so much, Mr. Kemp,
really for this opportunity.
I will leave you
to get to it then.
A pleasure meeting you, Vic.
You as well.
You, too.
Pleasure,
Coop.
Looking forward to
working with you.
I will be seeing you again
very soon.
Mhm. This is huge.
Massive.
Yeah. Yeah. Okay.
All right. Let's uh
let's finish up this
other movie. Okay.
Uh let's throw another
layer on the on
that sound. We need
to make it a little
thicker.
Okay. And I'm going
to add some filters
to kind of clean it up.
Sweet. Sounds great. All right.
Hey, it's me. Just
calling to say I hope
you're doing okay.
I don't really know
what to say anymore.
I mean,
said I'm sorry a
lot. Doesn't seem to
change anything. So,
so I'll just call
to say I hope you're
doing okay and I
suck and I'm a shitty
person and I
I'm sorry and I love you.
Just call me back. Okay.
Bye.
I uh enjoy life's
random realities,
but it doesn't
mean I want to live
there.
It's a dark place for me.
Creating these
textures gives me a a
sense of calm.
Silly movies, silly sounds.
But when I go back
into these these
realities that the
silly sounds are no more.
But I wonder.
Anyway, I
at the end of the
day, I suppose you you
could say I've I've
lived a fulfilled
life
full of silly sounds.
And random realities.
Hey,
this whole leaving
you a voicemail thing
really sucks. Maybe
you didn't get my
other messages. So, um
I just really think
we should talk like
for real in person.
You know where to
find me. Same as
always. So,
I love you.
Bye.
What? What the [
] Get off me. What
the [ ]
Get Let go of me.
Get off me.
Get off me.
I
I think I got to add
something to those
footsteps. It just
it needs something.
And I want to redo
that breathing. That
[ ] was weird.
All right. What do
you think was weird
about it?
I don't know, man.
My headache's just
[ ] stupid right
now. I think I need
to be done.
All right. I got
Seinfeld, a beef
sandwich, and Ice
Cold Dr. Pepper
waiting on me, so
I'm going to head
home.
All right. Noon tomorrow.
Sound good?
Shut the [ ] up.
Hey, did you hear that?
Uh, no.
You didn't hear that
really loud bang?
Was that hoes not
doing it for you?
What?
Vic, are you good?
You're telling me
you didn't hear that
loud ass bang? Just now.
Look, let's just
go on to the next
scene. Okay,
maybe we should take five.
Let's go on to the next scene.
Yep.
Where you going?
A conversation needs to be had.
This whole ignoring
me thing is getting
really [ ] old. Okay, I just
I need to hear your
voice. I'm really
[ ] up right now and
just call me back. Okay,
bye.
Oh [ ] you startled me.
That wasn't my intention.
Actually, I need to talk to you.
Yeah, I kind of got
the impression you
needed to.
So, what is this movie
actually about? I
mean, I get that
it's like a torture
pornish sort of
thing, but something's
just off.
With all due respect, Vic,
don't you ever again
refer to my films
as poor.
That was a little
harsh, but you haven't
finished your job
yet, so it's a little
unfair to be
judging prematurely.
Wouldn't you agree?
You're You're so
right, Mr. Kemp. I'm
I'm sorry if I offended
you in any way.
I'm just trying to
figure this out the
best way I know how.
Okay, look, I I
believe you're doing
just fine, Vic, but
the reason I'm here
is I brought some
items that I want you
to use in the movie,
and I think you're
going to be pretty
excited about this.
This can't be real right now.
Oh, it's very real,
Vic. Very, very
real. I know these
are in good hands
because they are in your hands.
What I want you to
do is use these items
to uh explore the
essence of how sound
can be used to alter someone's
perception of what
is even possible when
ripping a person's
heart out of their
body. I mean, I
heard you. Tom heard
you.
They will hear you.
I just I just can't
believe this is
real. I mean, I feel
like I'm on another
planet right now.
I mean, I always
admired Mr. Raven
from afar, but I had
no idea he was
watching my career so
closely.
I wish I could thank him.
You
know, Tom was a a
proud man. Took the
artist sound design
far beyond what you
hear in the movies.
And his films
weren't masterpieces
by any stretch of
the imagination, but
uh the lie worked.
You know, he told me
once he liked to go
into a theater with
regular people. He
didn't like to go
to premieres or
anything like that.
And he'd look for
the person that
squirmed the most. Said
he liked to sit next
to them so that he
could hear their
bones crack when their
body jerked in an
uncomfortable theater
seat.
Bad posture is always
inevitable when
watching a gruesome
film or uh at least
it is most of the time.
Anyway, I will let
you get to it. Uh,
this film, like I
said, is different
from what we've done
before, but watch
it, understand it,
use these items, feel
confused, but, you
know, make it your
own with with what you know.
I don't need you
to give me periodic
updates of how things
are going so far.
I trust that you know
how to put all the
pieces together.
So,
I will see you soon.
The way the light sees the dark
and the dark
sees nothing.
The way the light
sees the dark and the
dark sees nothing.
What is that? What
does that even mean?
Back.
When a vampire
makes love to a robot
which is mostly made
of metal. I think
we can assume that a
vampire's nails are
very sharp. At least
I would think so.
There there needed
to be pinpoint
details on how this
vampire would touch
metal. So
I used this
to convey the touch
of a vampire's hands
caressing a cyborg.
Also, I used it to
to create a a harsh
sound that I could
use if I were to
score a film, which
I've done from time
to time.
But, as I've always said,
we are orchestrating
a wall of madness.
Louis dry door.
She locked me in.
That's it.
From what I see,
just kind of blacks
out. So, I don't
uh This movie is
[ ] weird. Like,
not a good weird,
like a [ ] up
weird. Like, what's the
point?
All right, just uh
fast forward to the
next scene.
I kind of feel like
we should take a
break.
Fast forward to the
next scene. Coupe,
the [ ] is this
movie anyway, man? It's
like, is it even in
the right order? Or
like, is there an
order? I mean, [ ]
Next scene, Coupe.
I'm taking a break.
Coupe, you good?
Coupe, you okay?
Vic
interpost.
What?
Hey, uh, you you good?
I heard that loud
bang. I thought you
busted your [ ] or
something.
You said 10 minutes.
Are you ready?
Yeah. Uh, right
out of the black.
Yeah. Still some
weird [ ] though.
Hey. Um,
I I need a beer and
a break right now.
What?
I need a drink.
Fine by me.
So that's it for
this film then, huh?
I had no [ ] clue, man.
Milo Kimp gave me
all this Thomas Raven
[ ] and what? Now
the movie's over.
He gave you all that
[ ] just for this
movie.
That's what he said.
I don't know. I probably
need to talk to.
Milo.
I don't know how to explain it.
Something
something happens
when I touch Thomas.
Raven's props. It's like
enhanced
somehow. Like I'm
like I'm inside these
things he created.
So you just explained it then.
How do you mean.
I don't know, Vic.
You see, you can't
explain it, but
you're obviously
locked in with this guy
and [ ] is getting wild
and the whole project
is just getting
beyond what we thought
it was going to
be initially. And I
know I just turn the
knobs and whatever,
but that's how it
feels.
Do you have Milo Kemp's number?
You realize that guy
just like showed up
out of nowhere,
right? I can barely
remember his name is Milo.
All right. Well, I
think I'm going to
head home. I mean,
there's really
nothing else we can
do here besides I
want to get a real beer.
All right. Tomorrow then?
Yeah.
All right. See you
later. See you.
It's fine. Um, I I
wanted to chat with
you anyway. I I didn't
have your number.
Yeah, that sure.
How did he die?
Cool. So, we'll call
it here. Uh, you
got time next week?
Yeah, I can come by Saturday.
That works.
3:00.
Cool. Yeah. Yeah.
Sounds good. Sounds
good. Sounds good.
Do a little something
with the snare if
you could and the hook.
Bring it I needed
to really jump out.
But oh man, I love
it, man. Sounds
cool. All right, man.
See you next week.
Yep. Peace.
Bye.
Okay. Wow, I smiled.
You don't smile
back at all. Goodbye.
Come on, man.
Hey, it's me. Just
calling to say I hope
you're doing okay.
I don't really know
what to say anymore.
I mean,
said I'm sorry a lot.
It doesn't seem to
change anything. So,
guess I'll just
call to say I hope
you're doing okay
and I suck and I'm a
shitty person and
I'm [ ] sorry
and I love.
Why?
Why?
I'm just doing my
job. Inflicting pain
on the ones you
love is your job.
I'm sorry. You're far
from sorry. You're
[ ] sick.
I can feel you shake
every night in the
corner of our bed,
breathing so hard
like you're running
from something.
You're too far into this, Vicki.
Now you're stuck.
Uh, what the [ ] Vic?
Just need you to
stay where you are,
Coupe. We'll get
this figured out.
No, something weird
is going on. What
the hell is happening?
Said, "We'll get"
this figured out.
He should be freaking
out right now and
"he should be running
away right now."
But he can't.
Can you, Vicki?
What the [ ] is
she talking about?
Don't do anything stupid. Coupe,
I think it's stupid
for me to stay in
this room right now.
And I need you to
stay in that [ ]
room right now until
we're finished.
[ ] this.
Are you [ ]
kidding me right now?
You got so caught
up in your emotions,
you forgot about everybody else.
And I loved you
so much.
I wanted to help
you in your journey.
But you left me behind
and in pain.
A pain that you
inflicted on me because
you thought it was
necessary for your
art.
So what now?
I don't know.
You created it.
And that is what is
so fulfilling about
it. That's God.
Beeps. Ready.
Beep.
Beep.
Are you happy now?
Not yet.
Oh, [ ]
I don't know.
Well, [ ]
That was something.
Yeah, someone was
smoking something
right now.
But it's a paycheck.
Yep.
You need some punches
here and there,
but we got some
motion. Good stuff.
Cool.
All right.
[ ]
[ ]
Damn it.
You okay?
Being clumsy again.
Okay. You need some help?
No, I'm good, man.
I'm a big boy. And
get myself up.
[ ]
I got a bad pain
in the bathroom.
Yo, John.
What?
Why am I on the screen, dude?
What?
The [ ]
Like, why I'm on the screen?
What do you mean?
Like, I'm literally
on the screen just
looking froze.
What have you been smoking?
Really? I don't know
what you're talking
about.
The [ ]
Well, 70%
of viewer engagement
and appreciation is
sound.
It should be
the craft around storytelling
in film.
Uh sound is crucial
for creating a story
and a world that
exceeds the boundaries of
two-dimensional space on screen.
What we hear,
what we hear tells
us there is uh
there's far more going
on or more that's
existing
and breathing than we can see.
It's a world that
goes so far as to
invade our real world because
sound waves rule over
three-dimensional
space.
Sound has uh no control.
It's there with uh
with unpredictability.
It vibrates all around us.
It's changing the
air that we occupy,
making the world a
a place of wonder.
It's a world of wonder
or cosmic horror.
We hear the wonder of of crashes
and clocks ticking,
scream like cries,
growing loudness,
uproars,
explosions.
And then silence.