“A NIGHTMARE ON ELM STREET” – Exclusive Interview with Andrew DeCristofaro, Michael Payne, and David Farmer

From Designing Sound:

AC = Sound Supervisor Andrew DeCristofaro
MP = Supervising Sound Effects Editor Michael Payne
DF = Sound Designer David Farmer

DS:  Director Samuel Bayer stated in interviews that he wanted to keep the dreams in “NOES” rooted in reality.  Did this ring true for the dream’s sound design?:

AC: It does. We tried to ground the dream sequences with “real life” anchors. Some were obvious, and some were almost subliminal. For example, during Kris’s nightmare when she is outside looking for her dog, you hear “real life” sounds in her backyard that put her and the audience on notice. We hear some wind, wind chimes, a night bird… but if you listen carefully to the night bird you realize that the sound it makes begins with Freddy’s new signature sound of him “scissoring his finger knives” and quickly morphs into the wing flaps of the bird. It’s subtle, but effective. In general, we made an effort to have our design feel organic in nature. If anything felt “processed” we usually would modify that element to keep things sounding more natural.

DF: Well of course we couldn’t tip the audience that we’re in a dream, if they’re not supposed to know that yet, or we’d ruin the surprise. It’s tricky though, because today’s audience expects the tricks & mis-directs.  They’re hard to fool. I’d say in the end, we DID have to reign ourselves in.  Whenever we’d get too over-the-top, it wouldn’t work for the film.  So in several places, like Kris’ death sequence for example, the first & second passes through that were much larger with jet whooshes & the like.  We wound up with a track that is still hyper-real, but is more in the realm of reality….

See the rest at Designing Sound

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