EVERY BOY'S DREAM
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nearly forgot to mention one of the most enjoyable aspects of our
editing the film over the last several months, I periodically jotted
down notes on various missing sound elements. Among these were ADR
(additional dialogue recording) which includes off-camera lines, lines
that were, for various reasons, garbled or inaudible and sound
effects, including dogs barking, train whistles, traffic sounds,
chirping birds, etc.
among the latter category were the many sounds associated with police
cars: sirens, the PA, doors and trunks slamming and opening and the
sounds of the engine being started, shutting off and running. During
production, whenever we had a scene in which the police car was
zooming to a crime scene we turned on the flashing lights but never
used the siren. I didn't want to disturb the neighbors more than
necessary (especially at night) or create an editing nightmare by
interfering with the actor's dialogue.
Lowell get ready to fire 'em up in the J
& I Cafe
had our patrol cars available to us a few days prior to the shoot
dates, so I arranged for our sound guy, Alan Green, to meet us at the
SAPD Police Academy where we had secured permission to drive around
their training track while recording the sounds of the siren. The
academy is about 20 minutes south of San Antonio off I 35. Someone had
to drive the patrol car down there, so I volunteered. How often does
one get the chance to drive a fully equipped Police Interceptor on the
interstate? With Fernando riding shotgun and Alan following in his
pick-up, off we went.
view from behind the wheel of a patrol car on the highway is pretty
sweet. You know those assholes who never yield in the fast lane?
Oddly, they have no problem getting over when you're driving a police
real fun started on the training track. The track is a fenced off area
behind the academy buildings of several acres with a network of roads
and orange cones. There are various hairpin turns, stop signs and
straightaways and even a rectangular section with oil on the tarmac to
spent the afternoon driving back and forth really fast with the siren
blaring while Alan recorded the sound from various different angles
for specific scenes in the film. For the Pig
Stand scene we got the sound of a patrol car passing in the
background (Morning looks up as the car passes and says "Fat
cop" to Francis, who laughs); for the Carol
scene we used one of the several siren variations available for
the sound of an ambulance approaching from the distance; for the scene
where Mather robs the Food Mart we got the sound of the siren as
the patrol car approaches and screeches to a halt.
the end of the day, I added some good texture to the film -- and had a
hell of a lot of fun.
TO A LOCK
© 2002 Cypress
Films, Inc. All rights reserved.