How to Eavesdrop on the Pope

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As a seasoned gamer with a penchant for movies that delve into the intricate web of politics and religion, I found myself utterly captivated by Ben Baird’s tale of sound design for the film ‘Conclave’. The meticulous attention to detail, the creative use of everyday sounds, and the emphasis on the human element truly resonated with me.

Reading the script for Edward Berger’s “Conclave”, the term “conspiratorial quiet” struck sound engineer and rerecording mixer Ben Baird, referring to the enigmatic process of selecting a new pope that it depicted.

The film titled “Conclave” features Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini in its cast. It revolves around Cardinal Thomas Lawrence (Fiennes), who is overseeing a papal conclave, but as he delves deeper, he discovers hidden truths about each contender. The proceedings are usually hushed, making every sound significant.

To catch them, Baird’s initial step was to go to the Vatican, which happened to match with one of the pope’s Sunday sermons. Despite not being able to record any sounds (since filming and photography are forbidden), Baird jotted down many observations about the audible things: singing, bells ringing – sounds that had a “festive atmosphere” but differed from those you’d hear at other big gatherings like football matches or parties.

To recreate those specific sounds – as Baird mentioned, there was little suitable in standard sound libraries – his team gathered a small choir from a church where his father often played the organ. They sang hymns in multiple languages, which were later used in the movie.

Since most of the time in the movie “Conclave” occurs indoors due to the cardinals being confined while they vote, Baird had to imagine and create the outdoor scenes from within. This was achieved by allowing the world outside to seep in through the Vatican doors and windows, which became more noticeable as the film progressed, particularly during dramatic events happening beyond the walls, echoing within them.

Baird and his sound crew deliberately focused on the polished floors in the Vatican which could make certain sneakers squeak, creatively setting up Lithgow’s character. As Baird explains, “One of Edward’s concerns was to ensure that when John appears, it’s not just a simple camera appearance. So we thought, ‘Why doesn’t he wear sneakers?’ This way, he makes a noisy entrance, and you can hear him approaching several feet beforehand. Given his character, it seemed fitting that he’d be the one wearing sneakers while everyone else is in stiff shoes due to comfort reasons.

Additionally, the tale was accentuated by the rhythmic breathing of Cardinal Lawrence and the soft hum of flickering fluorescent lights.

Baird explains, “Fluorescent lighting symbolizes the common ground we all occupy within the professional sphere. In practical settings like backrooms and offices, the functionality and affordability of fluorescent light outweigh other considerations. Contrastingly, you’ll find grand entrances illuminated differently. The breath of life, often neglected in sound recordings, is a constant source of fascination for me.

The intrigue lies in Lawrence’s ongoing struggle from the start, yet he maintains composure. Interestingly, Ralph immersed himself completely into the role, expressing genuine emotions instead of what was scripted. At one point, we muted everything and focused solely on his breathing, stripping away all dialogue. His breath tells the story in its own right.

Berger aimed to make the audience experience being on Lawrence’s shoulders, as if they shared the burden of the world, according to Baird. The in-breathing sounds contributed to this effect. “He’s almost always in the shots,” Baird notes, “so the breathing makes it seem like we’re close to him, sharing his feelings.

This tale was initially published in a solitary December edition of The Hollywood Reporter magazine. To get the magazine, simply click here to subscribe.

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2024-12-04 23:25