Let me start this article by a great quote by Scott Adams:
Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.
If you work in some creative field, you know that mistakes happen from time to time. Well, I like to call them happy accidents. One of the best examples I can think of in music is Cher’s ‘Believe’. The vocal effect that is on the record is basically a happy accident resulting from experimentation with vocoding and filtering.
Here is a historical footnote from Sound on Sound article (originally published in February 1999):
It was the first commercial recording to feature the audible side-effects of Antares Auto-tune software used as a deliberate creative effect. The (now) highly recognizable tonal mangling occurs when the pitch correction speed is set too fast for the audio that it is processing and it became one of the most over-used production effects of the following years.
However, the happy accident is not enough to make a monster hit record like Cher’s ‘Believe’. It’s just a starting point. So the reason why the record sounds so great is that the producers (Mark Taylor and Brian Rawling) used it very creatively – they applied the vocoded sections only to parts where they had the most striking effect and not to the whole vocal track. Overall, it was very painstaking process, but well worth it – Cher was amazed!
This blog is focused on the art of cinematic storytelling, so I won’t write more about recording process of Cher’s song, since this was supposed to be only a short introduction to happy accidents, but if you are interested in music, sound design or just curious, I totally recommend reading the whole article at soundonsound.com, where you’ll learn more about the recording process of Cher’s ‘Believe’.
Now, back to the art of cinematic storytelling! Today’s article deals with a purely visual accident that happened in one of the last scenes in In Cold Blood.
The scene in question is when Perry Smith (played by Robert Blake) is about to be hanged at the end of the movie. It’s very sad and you do feel sorry for him, even though he committed such brutal crime.
The whole scene was shot on stage – they made an artificial rain and they also had a fan to the side, which was blowing the spray from the rain against the window.
When they were rehearsing the scene, Conrad L. Hall (cinematographer responsible for such great movies like Butch Cassidy and the Sundance Kid, Cool Hand Luke or American Beauty) noticed a very interesting light effect that happened once on Perry’s face. He loved it immediately.
After the discovery, they changed the blocking (staging) so that the light effect would stay on Perry’s face all the time.
As the water is running down and light hitting his face through that window, it seems like he is crying. It makes the scene extremely emotional and hard to watch. He talks about his father, how he hates him and loves him at the same time. He is not crying, but the visuals are crying for him. I think this has to be one of the most beautiful examples of cinematic storytelling.
And the best part about it is that it was “just” a visual (happy) accident, it wasn’t planned at all!
Now, there are other examples of rain running down on window used for similar purposes. One of them is a scene in Toy Story 3. In this case it wasn’t an accident probably, because Pixar storyboards everything very carefully. Nevertheless, it is still a beautiful example of cinematic storytelling.
The picture above was taken from a scene, where Lotso learns, that he was replaced by another toy. Even though he is not crying, the visuals tell everything!
I usually have problem with the last sentence in my blog posts, what to write, how to finish, but here it is easy: Make mistakes, use your tools in unusual ways, think outside the box, look for happy accidents and who knows – maybe one day you’ll make a monster hit record or an unforgettable movie scene!