The enduring legacy of ‘Star Wars’ and the art of sound design
A galaxy far, far away: The birth of a phenomenon
There are movie fans, and then there are “Star Wars” fans. The iconic franchise has not only shaped the landscape of science fiction but also left an indelible mark on the careers of many in the film industry. One such individual is veteran sound designer Ben Burtt, whose work on the original trilogy laid the foundation for his illustrious career.
“‘Star Wars’ is an exception. It launched the foundation for my career and formed a fan community which has been amazingly enduring,” Burtt shared before receiving the Vision Award Ticinomoda at Locarno.
Burtt’s connection to “Star Wars” has been a constant source of inspiration and opportunity. He recalls meeting countless individuals who were inspired by the films as children and pursued careers in the movie industry because of them.
The sound of history: From space to the Civil War
While “Star Wars” catapulted Burtt to fame, his talents have been sought after for a variety of projects, including Steven Spielberg’s “Lincoln”. This film, starring Daniel Day-Lewis, presented a unique challenge for Burtt, who was more accustomed to creating sounds for fantastical worlds.
“I got fewer opportunities to work on films that, well, weren’t in space. This one was very straightforward. No creature voices, no spaceships, no big sounds,” Burtt explained.
One of the most intriguing aspects of his work on “Lincoln” was his quest to record the actual pocket watch of Abraham Lincoln. Burtt spent a year trying to locate and gain permission to record one of the remaining timepieces.
“One was in the Smithsonian, but they were nervous about touching it – let alone winding it up with a key. Then I found out that the Kentucky Historical Society had the watch that Lincoln allegedly had on his body when he was assassinated [in 1865]. Fortunately for me, their curator was a big ‘Star Wars’ fan,” he laughed.
This connection allowed Burtt to record Lincoln’s watch, adding an authentic touch to the film’s soundscape. He also recorded clocks from the White House that dated back to Lincoln’s era, though many of these sounds were ultimately cut from the final film.
The evolution of a fanbase: From criticism to appreciation
Burtt’s work on the “Star Wars” prequel trilogy initially faced significant criticism, but over time, the perception of these films has evolved.
“The interesting thing is that when we made ‘The Empire Strikes Back’, we heard: ‘It’s not as funny, it’s not as good. You have ruined it!’ Then we made ‘Return of the Jedi’, and people said: ‘It’s too cute. And what are these little teddy bears?’ It has always been a fanbase that’s hard to please, and there’s always been some kind of a backlash,” Burtt recalled.
With the advent of the internet, global condemnation became more pronounced. However, Burtt notes that audiences are now more comfortable with the prequels, seeing them as a more representative part of the “Star Wars” core story.
“It just shows you that the audience’s opinion can evolve over time,” he said.
The magic of sound: Crafting iconic audio
One of the most frequently asked questions Burtt receives from fans is about the creation of the iconic lightsaber sound. This sound, along with R2-D2’s beeps and boops and Darth Vader’s heavy breathing, has become instantly recognizable worldwide.
“When I first started, George Lucas described to me that he wanted to hear a ‘natural sounding world.’ Every time we would manufacture something, it would be made out of sounds that really exist. We could modify them, but he wanted to hear real motors and real animals and squeaky hinges on the doors of the Millennium Falcon. He would say: ‘Make it sound like it was already used,’” Burtt recalled.
This approach set “Star Wars” apart from other science fiction films of the time, which often relied on electronic sound effects. For the Wookiee sounds, Burtt recorded bears, adding to the authenticity of the film’s audio landscape.
Beyond the stars: Adventures with Indiana Jones
Burtt’s talents were not confined to the “Star Wars” universe. He also worked on the “Indiana Jones” series, where he enjoyed the opportunity to modify actual sounds while respecting the historical setting of the films.
“We would record vintage aircrafts or at least listen to old recordings of them. Then, we would add our own twist. In ‘Indiana Jones’, everything is exaggerated. It’s a gigantic comic book. I think of these sounds as comic book bubbles with ‘boom!’ and ‘kapow!’ in them,” Burtt explained.
The invisible art: Recognizing the unsung heroes
Despite his significant contributions to cinema, Burtt did not expect to receive the Vision Award Ticinomoda at Locarno.
“It’s always an honor to get recognized as a post-production person, film editor, and sound designer. What we do is rather invisible. The mark of achievement is the illusion that what you see and hear is natural: that it just happened this way. So yes, it’s rare,” he said.
In an era where people often watch movies on their phones with closed captions, Burtt sees a challenge in preserving the integrity of sound design. To combat this, he hosts a weekly film festival at his home, sharing the magic of sound with his neighbors.
“The fun of being a sound designer is when someone hands you a sequence, and you start putting sounds in. Immediately, it comes to life. It’s like giving birth to something. You are not on set anymore; suddenly, you are in that world. And you get to be the first one to witness it,” Burtt reflected.
For more insights into the world of sound design and to explore the magic of “Star Wars”, check out the trailer and immerse yourself in the universe that continues to captivate audiences around the globe.