The latest Homing Beacon has
arrived and today we get to talk about the sound effects of Star Wars.
"From the beginning of the first Star Wars film, George Lucas always
encouraged the sound development to start in pre-production," says Ben Burtt,
Sound Designer and Co-Editor of Revenge of the Sith. "That way, sound is
being talked about when you first see the artwork, and sound effects and
concepts for sound are there from the beginning as the films were shot. Once the
film is being edited, sound is put in right away." Though that is the tradition
with Star Wars movies, the standard Hollywood model had been to scramble
to develop sound deep in the post-production period. "In that case, there may be
only a short amount of time left to work out all of the concepts; but for us,
the sound has really been developed over a long period of time."
Like many elements in Episode III, the sound design is a mix of
new and old as the Star Wars saga bridges together, and the prequel
trilogy segues into the classics. Burtt was very much cognizant of that as he
began putting together elements for the opening space battle. "I knew when those
ships came in that they were going to be the new Jedi starfighters, which were
related to the TIE fighters from A New Hope. I felt the sound should have
some continuity, so I started working with the old TIE fighter sounds and adding
NASCAR sounds to it to develop something that would hint at the direction of the
Burtt describes there being about a thousand different sound
projects for the film, not including foley effects like footsteps. In addition,
the sound crew also provided performances both large (Matthew Wood as General
Grievous) and small (Burtt as the Niemoidian captain). "We're a small operation,
a sound crew of 9 people, so we tend to use ourselves as characters," says
Burtt. "Matt and I played in the recent films probably about 30 or 40 incidental
characters -- battle droids, Nemoidians, Gungans, Utapaun pit crews, R2-D2, all
kinds of robots, and we've enjoyed that because it gives us the feeling that we
can really put our performances into the film."
Since the first Star Wars, Ben has been the "voice" of
R2-D2, combining synthesizer and organic sounds with his own voice to create the
distinctive beeps and boops of the beloved astromech droid. "We revived some of
our old equipment for this film," he says. "We pulled out an old ARP synthesizer
from under my house, and it was all moldy. Howie Hammerman, our engineer, got it
working again so we did lots of new Artoo for this."
The combination of many disparate and sometimes surprising sound
sources has been a Ben Burtt trademark, and it continued with this final
installment of the saga. "You look at General Grievous' wheel bike, and it's
nasty, loud and dangerous. I thought a chainsaw would be perfect," says Burtt.
Likewise, the low rumble of the very first Star Destroyer we see on screen is
actually the filtered sound of Niagara Falls. And the sound of Vader's heartbeat
while he is undergoing his final transformation into a Sith Lord who is more
machine than man?
It was a sonic boom emitted by the space shuttle, as heard in