“When ‘The Empire Strikes Back’ came out the bar was so high.”ĭespite the breadth of sounds he’s created, his proudest one is rarely talked about. But once they had that impact, you’re labeled a genius,” he says. “That first Star Wars film was done in innocence to satisfy me and George Lucas. With analog, the more duplicates you made, the worse it got.”īurtt admits that as he became renowned for being the brains behind “Wall-E” and Darth Vader’s breathing, which he made by breathing into a scuba regulator, there was pressure to raise the bar. The sound didn’t degrade from copy to copy. “Everything was heavy duty.”Īs technology advanced and the world moved to digital, Burtt says “you could work faster and you could manipulate things. “That meant you were recording on magnetic tape and you had big reel to reel tape recorders,” he says. When Burtt was first finding sounds for “Star Wars,” “E.T: The Extra-Terrestrial” or even “Indiana Jones and the Temple of Doom,” everything was an analog recording. The goal, he says, is always to “find sounds that also will communicate something to the audience.” “You go out and you’re documenting sounds other times, you’re staging something such as a car skidding around a corner.” “Most of the sounds that I’ve created have been derived from real-world objects, animals or technology,” he says.
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