ABSTRACT
A film whose storytelling approach is some distance removed from Adam Elliot’s is Sausage by Robert Grieves. As pivotal a role as music can play in a film, in some instances, it achieves more in its absence. Allowing William McInnes’s understated performance as the films’ narrator to sit in the sound mix on its own, accompanied infrequently by minimal Foley work, on top of the ever-present audible film his, adds tremendously to the solemn tone of the film. The film’s composer, Phil Brookes, first met Eirik Gronmo Bjornsen during the latter’s Erasmus exchange period at the University of Glamorgan in Wales. Despite the slight time-lapse judder of filming the animation outside, the sound is authentic enough to sell the characters as “alive” instantly. If animators characters sound like they’re in an open field one moment and a coffee can the next, audiences will notice instantly.
