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I wanted to use foley at every opportunity, not just if it was an audible convention. It was a tool to me to explore the sounds that were in the space. They’re all metaphors for noises that are in the world.
I wanted to make use of, for example, a microphone so that we can identify the noise of the traffic. When I went to Panjim to find the house, I knew exactly where it was geographically. Within walking distance. But I also knew that there were cars, and I didn’t know how big or how close they were where the house was. Choosing to hide microphone there on the other side of Vijayanagar to detect the noise of the traffic, for example, just to bring some specificity to the place, to make it real; that was a choice I made.
And I thought, if I can get that for the traffic, that would get rid of the road noise. So I hid it among the railings of the viaduct that’s there by that lake, so I could get the sounds of carts and cars and bikes and the ships and that was a really specific thing that happened. So the idea of hidden microphones, or of using foley so that you’ll get the different kinds of sounds, was one way of bringing specificity and making sure that all the sounds are real so that they tell you what’s out there. That’s the point.
Having been able to do that I could then go back and use it to make a film that was completely non-theatrical. That would just be me walking around, making a film that wasn’t formulated as a movie but you could watch, you could find your way through it. d2c66b5586