Barbie Sound Design: A Real Adventure
We have repeatedly pointed out the tremendous irony of sound design and cinema. Sound is perhaps one of the aspects that viewers pay the least attention to, and, at the same time, it is one of the most important in immersing the viewer in a dream that they seek when going to see a movie. Every beat, whisper, and melody combine to weave an auditory narrative that complements the visual story on the big screen.
Against this backdrop, the iconic Barbie doll is set to dazzle audiences of all ages in her next cinematic adventure. The new Barbie movie not only promises to take us into a world of fashion, friendship, and contrast with reality but also gives us the opportunity to explore how sound design can elevate the magic of cinematic storytelling.
The film "Barbie", directed by the talented Greta Gerwig, has hit theaters with an exceptional combination of humor and heart. This film transports us into the fantastic and plastic world of Barbie while exploring the complex and messy world of reality. In this exciting cinematic adventure, sound design plays a pivotal role, and two experts in the field, Ai-Ling Lee and Dan Kenyon embarked on the exciting task of bringing Barbielandia to aural life.
Barbieland is an interior world where houses have no walls and everything must be pleasant and inviting. Gerwig wanted the film to resemble a 1950s musical, which required all the sound elements to be authentically artificial. The background atmosphere had to appear to be transmitted through speakers, creating an atmosphere of control and perfection in the sounds of Barbie Land.
In this environment of plastic and enchantment, Lee and his team chose to use alternative sounds for everyday objects, such as jackhammers, plastic car crashes, and even birdsong. The sounds of the objects used by the Barbies had to be reminiscent of commercials and appeal to the audience. For example, when opening the refrigerator, a feminine exhalation was added to convey a refreshing sensation.
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The tone of the film allowed for the inclusion of cheesy, stereotypical sounds, such as dolphins chattering, the hawk's call, and the galloping of the coconut-shelled horse in homage to Monty Python. Even the dog Tanner was the subject of experimentation, with various options including recordings of a little girl playing and a deadpan man saying "bark, woof."
The introduction of vocal sounds in Barbie Land added a playful, human touch to the film, bringing characters and objects to life uniquely and charmingly. From fight sounds overlaid with beatbox vocal sounds to imitations of aerial whistles and airplane flyovers, Barbie's sound design is a masterpiece of aural creativity that takes the cinematic experience to a whole new level.
On the other hand, Dan Kenyon, another leading sound designer, shared his perspectives on how sonic challenges were addressed in the vibrant world of Barbie Land. To maintain the upbeat and light atmosphere that characterizes Barbieland, Kenyon and his team moved away from sideways and heavy sounds, opting instead to incorporate vocal elements into the sound design. Notable examples of this include the ship's engine during the World Travel sequence, where cartoon voices and bubbly lip sounds were used to create a playful and enchanting atmosphere.
Vocal sounds were also applied to the airplane sound, using layers of wind, vocals, harmonica, and chimes to achieve a result that fits perfectly with Barbie's style. Importantly, the use of real airplane sounds was avoided in order to maintain a unique and cheerful aesthetic. The challenge of the Barbie Land vehicles was addressed by recording an RC car and adjusting its pitch to match the right feel. The Foley team contributed tire sounds that added realism to these vehicles which are both toys and life-size.
The film features an evolution in ambient sound, reflecting the transformation of the film's narrative. When the Barbies are in command, the atmosphere is festive and joyful, with cheers, laughter, and shouts of happiness. In contrast, when Ken takes center stage in Kendom, the mood becomes more masculine and messy.
In this way, the sound design in the film "Barbie" is an essential part of the cinematic experience that transports the audience into a unique and enchanting world. Both Ai-Ling Lee and Dan Kenyon used their expertise to create a sound universe that perfectly complements the visual narrative of the film. Alternative sounds, voices, and original music combine to deliver a sensory experience that elevates the magic of Barbie and her world to an exceptional level. The magic of cinema lies not only in what we see, but also in what we hear, and in the case of Barbie, the result is a masterpiece of aural creativity that elevates the film to an unparalleled level of charm and emotion.
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*The images used on this post are taken from Pexels.com