You can’t unhear it, even if you tried. Gravitas Ventures’ latest film is James B. Cox’s folk horror, Call of the Void, which follows Moray as she retreats to a remote mountain cabin to try and escape her work, her family, and her old life after the tragic death of her brother. However, her quiet retreat is quickly diverted by a college band moving into the unit next door and a suspicious professor studying a local phenomenon involving a mysterious hum. She discovers that the hum is a gateway to something otherworldly, unnameable, and once heard–there is no return. The hum is a sonic experience that asks the question: "How can you escape your own senses?" With sounds playing such a central role in Call of the Void, both the sound design and score had to be precisely thought out. Serving as the film’s composer was Clayton Worbeck, who had previously collaborated with director James B. Cox on Hacked. When discussing the placement of the score, Clayton says, “The entire score is a textural theme for the cosmic force that is infecting everyone. And that concept is reflected sonically as well: the score is sparse to begin with, but by the end, it has taken over the entire soundtrack.” This type of uneasiness is exactly what makes a horror film score effective, in Clayton’s opinion. “A good horror score needs to make the viewer feel uncomfortable. That degree of discomfort depends on the individual film, but there needs to be...
Published By: NoFilmSchool - 2 days ago