A good example of that in the film is leading up to the Playboy Bunny concert. And for a number of minutes you have been with Willard in the cabin of the boat, looking at a dossier and everything is mono; narration and sound effects. And then people become aware that there's something up ahead in the river; some lights. And when they start to become aware, then the film starts to become stereo so there's this kind of opening up of the soundtrack from the confined cabin to what's up ahead.
And then as the boat comes in to the compound it expands further but not yet in the backs. And then when the Playboy helicopter arrives and two helicopters fly over the camera in to the back, we pan the sound of those helicopters in to the speakers in the back, as if the helicopters were flying over the theatre. And now the roar of the audience is also back there and the rest of the concert proceeds with this full six track, 5.1, six track. And it's only after everything has... the evening has ended and it's now the next morning, now the soundtrack collapses back to mono again.
So you, in that whatever that is, probably eight minutes, ten minutes, you have this arc... But that was all worked out in advance. I had a map of the film that I drew with each scene somewhere on the map and then correspondingly at this moment is the music in quadraphonic or quintaphonic or six track and is the, are the sound effects also. And sometimes they would be, sometimes they would be in sync, sometimes they wouldn't be in sync and sometimes both would be in mono, sometimes the sound effects would be in mono but the music would be in stereo. And then the sound effects would be...
So it was a tapestry that I was weaving theoretically before ever starting the mix, thinking, where are the best places to have this dynamic shift in the environment of the sound of the film?
