The Sonic Architecture of “Materialists“: How Sound Design Deepens Celine Song’s Debut
NEW YORK, NY – Celine Song’s critically acclaimed “Materialists” isn’t just a visually striking film; it’s a masterclass in subtle sound design, meticulously crafted to amplify emotional resonance and ground the narrative in a palpable sense of place. Filmmakers Daniel Timmons and sound designer Song, alongside Josh Berger, reveal a deliberate approach to audio that elevates every beat, transforming the bustling soundscape of New York City into a character in its own right.
The challenge of filming in New York presented immediate hurdles. “Shooting in New York is always hard because of all the obstacles of shooting on the street. There’s always loud cars and things going by,” explains timmons. Though, the film’s power lies in its quiet moments, and the team focused on layering in subtle textures to draw the audience closer. A scene featuring the characters Lucy and John by a loading dock, such as, was enhanced with the delicate sound of wind in hair – a seemingly minor detail intended to “help the viewer lean in” and foster intimacy.
The sound team’s overarching goal was to be “imperceptible,” according to Song. “I don’t want anybody to know that we added that little car driving by. The goal is you want it to sound like that’s just what you captured on set when you were rolling the camera.” This commitment to realism underscores the film’s naturalistic tone.
Song championed a collaborative environment, advocating for the sound team to be integrated into the creative process from the outset. she notes a common disparity in how different departments are treated on set. While camera and lighting routinely receive dedicated time and attention, sound often feels rushed. “To me, it’s about developing a culture where sound is treated with equal amounts of respect as a picture,” she asserts, emphasizing the director’s role in fostering this environment.
The film’s soundscape isn’t merely about masking silence; it’s about actively supporting the narrative. In a pivotal scene where Lucy and her client engage in a heated argument on the street,Timmons intentionally incorporated the sounds of a nearby construction site.”The one thing that I did want to add…was the sound of the construction site right behind them, and, the chipping away of the facade, if you will, which is what happens.”
This deliberate layering of sound extends to even the smallest elements. Berger highlights the meticulous thought process behind every sonic detail. “We’re not just putting things in there, just to put it in there to fill out the space. We’re trying to add things that will help tell the story at that right time through sound.” He emphasizes the importance of timing and placement, even for something as commonplace as a car horn. “It’s very impactful where certain things are placed, even if it is indeed a car horn. Where does it start? Where does it stop? How does it impact the next line of dialog or where they are in their conversation? A lot of thought goes into that stuff.”
Ultimately, the sound design in “Materialists” isn’t about hearing the sound; it’s about feeling the story. It’s a testament to the power of subtle audio to deepen emotional impact and create a truly immersive cinematic experience.
