Having come into that world without a background in film\u2026 I mean, I had done work as an audio technician in various ways, recording music, mixing music, doing CD mastering, working in Chicago public radio, making radio programs, and doing live broadcasts and blah blah blah. I had some sense of how to work in audio but not any training in how to do soundtrack for a movie. I had blissfully approached that without a sense of what conventions I was either making use of or not making use of.
And I was like, wow, that really crystallized everything. I\u2019m really interested in hearing that mic. What was that mic made out of? Who made that mic? Everything about the history of that mic is part of what\u2019s in every shot. That\u2019s part of the movie to me. Ideally, everything is important or something to think about or think with.
Just as a tangent to what we were talking about a minute ago, the fact that people asked about foley or were convinced there was foley in Manakamana has to do with the sort of distrust of the soundtrack that people who see movies learn; you assume that what you\u2019re hearing isn\u2019t from what you\u2019re seeing because that\u2019s how you know movies are made. That\u2019s a bit of a tragedy. Maybe that\u2019s a bit of an overstatement, but people learn not to trust the soundtrack. The soundtrack is exempt from the point of nonfiction. 2b1af7f3a8