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filmwaves.co.uk

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Venice Biennale

It would be nice to do something political (AIS 22)

Brothers Quay’s use of sound and music

De Artificiali Perspectiva: Brothers Quay’s use of sound and music. Gustavo Costantini and the mystic quality of the Brothers Quay soundtracks

Fantasia for grown ups and the cultivated?

For the Brothers Quay everything starts with music. They made a lot of works based on a piece of music and, if this music does not integrate to the images they created, they do not change the music, they transform the images until they fit perfectly well. Although this is the way to work with sound in traditional animation – sound, or at least voices are always first – with music there is more freedom. Unless you are working to match the images to a pre-existent piece of music, like Walt Disney’s Fantasia, whereas you don’t expect Paul Dukas to perform any change to his The Sorcerers’ Apprentice. You make Mickey Mouse do something else to match the piece in a better way. In a sense, the Brothers Quay work this way. But not to achieve a sort of Fantasia for the grown ups and the cultivated… they find something perfect and untouchable in the music they like. Moreover, they try to imitate in animation and live action that abstract essence of music, that invisible structure that is beyond representation and can move us in so many ways.“ In a sense, the Brothers Quay work this way. But not to achieve a sort of Fantasia for the grown ups and the cultivated… they find something perfect and untouchable in the music they like. Moreover, they try to imitate in animation and live action that abstract essence of music, that invisible structure that is beyond representation and can move us in so many ways”