Monty Python and one other Reference – Sound

Throughout the few weeks, a group of us have just been quoting Monty Python. This seems to have carried onto our animation when thinking about audio and sound. When we were thinking of sound, we realised early on it was a big part in our animation; the perks of not having to animate when the light goes out is replaced by daunting task of sound. When thinking of sound we want to be that if you close your eyes you get a sense of scale and context. our character is going to be walking away, so our sound should reflect that. We need to get a sense of character within the time scale, bringing in mannerisms and personality of the character.

When speaking to the group, we talked about the virtual barber shop, which replicates the atmosphere that you re getting your hair cut through the sound (needs earphones )

Back to Monty Python, for me and others is quotable and has a lasting impression. That effect is definitely something I think we ought to achieve. Monty Python have not only done visual comedy but with their flying circus material, they translated it into audio called ‘The Final Rip off.’ You would think they would just take the audio from the shows and put it on a cd. They didn’t do that but instead completely remastered and added to the audio giving a much more enjoyable audible experience. To show how different the sketches in visual form or different to its audio equivalent, heres their sketch ‘Fish License’

Fish License- Monty Python’s Flying Circus – Accessed 6th April 2016

Fish License – Monty Python’ s The Final Rip Off – Accessed 6th April 2016

As you can hear its much clearer because the reliance is the audio, we know whats going on due to the understanding of the fall off of sound, character’s voice (The mannerisms, volume and pitch) and sound effects.

I read this article and thought it was relevant, one because it shows how silliness will always have an impact and things like pretending to ride a horse using coconuts will always get a laugh. Also John Cleese said something very interesting about comedy writing and had elaborated a bit in a snippet of this interview. The audience is key, do what you can to make them laugh or fail. If we want the audience to warm up to the character and chuckle at the animation we need to make necessary changes.

“One of the film’s first big laughs comes from the sight of King Arthur (played by Chapman) galloping up a hill not on horseback but on foot, with his man-servant following behind him and constantly smacking two half-coconuts together to simulate horse sounds. During the post-screening chat, Idle, recalled one of their stateside marketing tactics for the movie’s theatrical run. “Here in New York,” he told Oliver, “we had a guy, an actor, walking around with a banner that said ‘Come see Monty Python and the Holy Grail and you’ll get free coconuts!” Knowing exactly whose film festival he was at, Palin quickly added, “That actor was Robert De Niro.”

It wasn’t De Niro, of course, but the crowd ate Palin’s line up. Ever the showman, Palin was doing what guys like the Pythons do best, and which of all them did last night: never waste a joke in front of your viewers. “The audience is king,” said Cleese, later in evening. “If you make them laugh, you’ve won, and if you haven’t made them laugh, you’ve lost.” – 2015, Monty and Matt Barone. “Monty Python’s Fans Find Their HOLY GRAIL As The British Comedy Team Reunites At TFF 2015 | Tribeca”. Tribeca. N.p., 2015. Web. 6 Apr. 2016.

Monty Python Reunion at Tribeca FIlm Festival: Audience is King – Accessed 6th April 2016

Thinking of it’s creator; Terry Gilliam and his animation. Whether we replicate this style or not. it’s really interesting to see how he works with cut out animation. If you’re in the mood for a slightly trippy introduction but Terry Gilliam goes through his process and its a good watch.

Terry Gilliam – Monty Python Animations – Accessed 6th April 2016




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