00:00

This title sequence is an exemplary study in hits and isomorphism.

08:58

A car skid and bowling pin crash are used to exaggerate movements in this foot chase.

20:07

Jafar’s evil laugh post-laps to next scene.

36:13

An isomorphic cue is created to emphasize the handshake between the Genie and the Magic Carpet.

42:39

The parrot swooping movement is exaggerated by layering it (sweetening) with the sound of a dive-bomber.

53:20

The dialogue levels and reverb shift with the picture cut to establish Jasmine’s proximity to her suitors.

1:16:28

The sound of Sebastian’s jaw dropping is exaggerated with window blinds.

1:18:40

Jafar’s voice morphs into a snake.

08:56

The underscore hits with each line of dialogue. “I’m Locked” (door knob) “Oh no” (Alice).

17:35

Disco era music creates a romantic backdrop for Humphrey’s misdirection. The cue ends with a phonograph needle rip as Humphrey realizes he is hugging one of his friends rather than Kate (his love interest).

23:00

Heavy reverb is added to Kate’s dialogue representing her subject state, induced by a tranquilizer gun.

57:15

Tonal wolf howls seamlessly integrated into the score.

1:05:25

Diegetic sound fades during this sequence to allow the audience to focus on the thoughts of the principal characters.

04:01

The crash of a chandelier post-laps into next scene (ring-out).

11:12

Slavic underscore hits with each line of dialogue spoken by Comrade Phlegmenkoff: “and be grateful too.”

12:28

The speaking voice of Meg Ryan transitions to the singing voice of Liz Calloway in the song “Journey to the Past.” This rendition is orchestrated in a musical style rather than in a pop style to create a timeless feeling.

17:55

Reverb and volume are added to the underscore to support the flashback and to initiate the transition from underscore to song.

29:05

Rasputin’s performance of “In the Dark of the Night” is performed in a recitative style.

38:17

The sound of the train falling is treated with Doppler.

50:09

Various BGs are used to toggle back and forth from Anastasia’s dream state and the reality of her present danger.

1:12:56

The thunder post-laps via a ring-out.

19:07

The cue is an extended isomorphism. Zach’s screams are treated with Doppler as he hurls downward into the ant bed.

35:00

The sound of the firecracker fuse plays loudly, representing Zach’s shrunken perspective. The explosion that follows plays softly, reinforcing the perspective created by the camera shift.

1:09:00

A Viennese waltz creates an anempathetic feel as the exterminator sprays the ants with his lethal concoction.

17:18

The source music, “Almost like being in love,” contains narrative lyrics and sets up the misdirection that will follow. The factory horn is pitched to the key of the song and is a transitional device, moving from source to underscore. The instrumentation thins out and the tempo slows down to support the time lapse.

22:19

The song provides narrative lyrics “The Ants go Marching.”

56:21

This montage sequence is scored with an updated cover of the pop single “I Can See Clearly Now.”

1:10:25

Dialogue is used to bridge a cut as Z hands off the line to Princess Bala at the picture edit

00:00

The title sequence music is an establishing element for the French setting. The second verse is sung in French without subtitles.

05:26

The source music emitting from the gramophone establishes the time period while sonically transitioning the audience through various rooms in the house.

00:43

Atlantean dialogue is spoken and translated via subtitles.

02:33

The sound of a manual typewriter accompanies screen text which indicates location and date. Milo’s off-screen dialogue pre-pals as the camera moves from exterior to interior, revealing the misdirection that is his audience.

31:09

The music cue hits with each of Audrey’s playful punches.

38:24

The picture goes to black just before the vehicles crash. The off-screen sound completes the action and softens the perception of the scene’s violence.

40:55

Milo’s dialogue is treated with echo to show the vastness of the environment.

44:20

Atlantean dialogue is spoken with subtitles. The transition to spoken English occurs in response to Commander Rourke’s introductory remarks.

52:17

The sound of stilts moving in water pre-pals in sync with a visual wipe.

1:00:14

Off-screen sound completes the action of Rourke punching King Nedakh, which allows the violence to be implicit.

1:03:01

Princess Kida’s voice is digitally treated as she reverts to her Atlantean language.

06:30

SFX are muted during the freeze frames, yet the underscore plays through the shot.

16:39

The underscore slows down as the bees de-accelerate and land on the tennis court. The Theremin is used to create an uneasy feel for the backgrounds. The SFX are exaggerated in level and low frequency content to establish the Bee’s perspective.

19:03

The underscore suddenly stops as the mother yells “freeze.”

30:04

The dialogue gets muffled as Barry submerges in the pool of honey. This treatment is part of the transition to the montage sequence, scored with the song “Sugar Sugar.” The emotional character of the music and lyrics sets up the ensuing misdirection.

40:30

The dialogue pre-lap implies narration but is soon revealed as diegetic.

44:30

The venetian score implies that Barry is floating on a Gondola rather than a sugar cube. A sonic analogy.

1:10:50

Cockpit voices are futzed when off-screen and play in full resolution when on-screen.

09:12

The silence before the explosion helps exaggerate the intensity of the explosion.

11:25

This scene features a postproduction room where the source audio is futzed to imply raw footage and production audio. The boom pool adds a nice visual touch.

1:00:05

The caged dogs in the kennel speak the word ball in English. As the camera shifts to the perspective of a human kennel worker, the word ball morphs into real dogs barking.

1:16:18

Rhino (the hamster) dialogue is presented in English until the POV shifts to the actor who only hears hamster squeaks.

49:50

This shot features a narrative play on echoes as the rams unwittingly address themselves.

1:01:02

Slavic music and Russian dialogue establishes the ethnicity of the bear.

0:00

The opening scene begins with BGs rather than music.

19:20

The underscore for Flick in flight is suddenly interrupted when he hits the rock (misdirection).

20:04

The initial dialogue treatment for the bug fight sets up a misdirection as it is soon revealed to be a stage production.

27:28

The isomorphic scratching of the violin dramatically covers the sound of an inebriated bug scratching his legs.

29:53

Slim’s (Walking Stick) dialogue “Swish swish, clang clang” is making fun of clichéd sound design.

35:48

This cue is an extended pre-lap that functions like underscore to source.

38:14

The megaphone is futzed with added feedback loop for realism.

42:40

An accelerated whoosh plays in sync with camera zoom.

44:50

The off-screen applause transitions to on-screen, finally post-lapping to an interior shot with Francis (Ladybug) recuperating.

48:25

A single line of dialogue is broken up and delivered by multiple characters, bridging a series of visual cuts.

52:49

The underscore is later revealed as source as the camera moves from exterior to interior. The song “La Cucaracha” establishes the proximity of grasshoppers from the ant colony.

1:20:44

A loud beetle roar is followed by the sound of an injured dog, implying a role reversal.

1:21:17

Raindrops are sweetened with the sounds of jet engines and missiles to represent the magnitude of rain from a bug’s perspective.

12:00

Reverb is gradually added to the dialogue as the narrative transitions from reality to fantasy.

18:05

A cover version of “Life is a Highway” provides narrative lyrics for the traveling sequence. The ringing of a phone masks the transition of the cue from underscore to source.

40:19

A dialogue ring-out is used as a transitional device.

1:42:40

The diegetic sounds of the raceway fade out and the underscore fades up as the scene becomes subjective.

10:12

The sound of a bull whip creates an exaggerated feel for the coach whipping out a dodge ball.

10:30

The donkey kicks are exaggerated with machine gun fire.

15:30

Heavily reverberant bat cracks and crowd cheers support the flashback as the backstory is presented.

28:50

Excessively loud singing triggers car alarms, providing an off-screen commentary on the quality of Chicken Little’s voice.

58:00

The song “It’s the End of the World” provides narrative lyrics for the Alien invasion. Subtitles are provided for the Inter-galactic dialogue.

1:11:3

The whip cracking sound is used to exaggerate the captain’s neck movements, creating an over-the-top feel for the scene.

11:55

Accordions and wedding bells are added to underscore as sweeteners to reinforce the narrative implications.

12:40

“Ave Maria” is futzed as the camera moves from the farmhouse exterior to the interior. This choice of music creates anempathetic feel for the scene.

15:15

The underscore builds toward a misdirection.

28:20

The underscore temporarily transitions to pentatonic scale to play on the karate portion of their training.

47:00

The Group ADR fades as the romantic jazz underscore fades up to push the subjectivity and emotion of the scene.

102:05

The Group ADR fades as the cue is brought out to reinforce the subjective moment.

1:06:18

Futzed source music pre-pals to the next scene. The narrative lyrics support Rocky’s willful abandoning of the chicken coup and love interest.

9:50

A Harp gliss plays isomorphically in sync with the opening of the curtains.

14:00

Underscored sneak steps are used for on and off-screen movements.

24:15

Reverb is added to the dialogue for contrast as the helmet is closed.

25:58

Isomorphic figures support the camera moves. The reverb shifts as the characters move from room to room.

19:44

The lyrics to the song “Die Die” provides the back-story for the bride. The instrumentation (marimbas and xylophones) is consistent with the skeleton characters. This cue post-laps with an extended ring-out.

27:00

The score and the elevator bell progressively pitch up as the elevator ascends.

04:20

The soundtrack features nearly three minutes of varied BGs as the egg moves through many environments.

10:45

The angry growls, monkey screams, and intense underscore set up the misdirection.

18:27

The soundtrack gets silent just prior to the meteor hitting the earth, providing dynamic contrast.

20:06

BGs are treated with bandwidth filtering to support the shift from the surface to the submerged shot.

49:49

The off-screen dripping sounds develop the characteristics of the cave.

56:57

In this clip is heard an extended post-lap of a scream using the ring out technique.

1:03:33

Hard effects and BGs start from one side of the mountain and transition to the other.

01:24

Epic underscore sets up the misdirection for Shepherd getting hit by a bus.

15:42

Song “The Girl from Ipanema” pre-laps and later post-laps with a substantial reverb ring out.

28:01

Vari-speed is applied to the underscore.

43:00

Gru counts to three, just prior to the third number, we cut to the dance studio with the dance teacher saying “three.”

55:49

Whoosh follows camera for both zoom in and out.

02:18

Underscore builds toward misdirection.

04:20

Futzed newsreel with added pitch warping to suggest a faltering projector. Dialogue implies narration but is soon revealed to be diegetic.

06:30

The score builds to the visual wipe (film burning). The film sprocket sounds morph to the sewing machine as a transitional device (form edit).

07:00

Yankee’s thoughts are treated with reverb and echo to support the subjective moment.

08:20

The sound of a pin ball hitting bumpers is used to exaggerate the sound of the baseball bouncing off surfaces in the bedroom.

57:55

The cue transitions from source to underscore, introducing a modern musical style in a period film.

07:20

The sound of a tire’s screeching represents the school of fish coming to a sudden halt.

13:40

Reverb and level are used to shift the dialogue from on-screen to off-screen. This treatment promotes the ever-increasing distance between Marlin and Nemo, a concept that will become the center of the conflict.

24:56

There is a deliberate pause in the soundtrack just before the explosions to create contrast. Then, when the picture cuts to the surface, a lone bubble comically reduces the off-screen action to little more than flatulence.

26:50

The rapid movement of the fish tail is exaggerated using castanets. Jacque’s ethnicity is established with French accordion music.

31:42

The underscore descends and then ascends isomorphically with Marlin’s movements.

56:00

Lines of dialogue cross fades from character to character as a transitional device. This sequence ends with a flock of seagulls (voiced by humans) saying “Mine Mine” to reinforce on their greedy nature (Group ADR).

1:05:30

Dory communicates using whale speak.

1:15:36

This music cue is a cultural referent from the film “Psycho.” The ensuing dialogue post-laps via a ring out.

1:25:10

Dialogue lines are time compressed to reinforce the flashback.

10:45

This isomorphic cue builds to promote the misdirection.

29:17

Rita’s individual words are emphasized with orchestral hits.

47:06

The frog tongues are exaggerated with the sounds of metal swords.

12:45

Nanette the frog says “you look hot” in Japanese translated in subtitles. Soon after, she says another line in Japanese, this time the subtitles are left out because the action implies the meaning.

22:36

Nanette’s laugh is sweetened with water bubbles.

23: 38

Nanette’s dialogue pans from center to hard right as she prances off-screen.

31:15

Mock-up commercial on Terfirminator using heavy metal music and futzed dialogue, ending with a TC/E disclaimer.

42:39

A parody of Elton John’s “This Song” is modified to include lyrics about pesticide and miracle grow. This parody is used to unfavorably characterize Juliet’s un-wanted suitor.

1:01:25

Gnome inadvertently plays “Bennie and the Jets” as he walks on the computer keyboard and finger pad.

00:15

Charlton Heston’s opening narration is interrupted by the gospel chorus to provide a modern version of the backstory.

04:58

The underscore builds, followed by a whoosh that follows the camera movement.

06:55

Pain’s footsteps are literal until he falls down the stairs. These movements are playfully covered to de-emphasize the violence.

14:04

An off-screen jet pass-by is used to introduce the wooden cart. This is followed by an off-screen descending whistle which sets up the on-screen donkey landing.

29:38

A glockenspiel plays the circular wipe (isomorphism) represented visually by leaves.

44:35

Hades’ dialogue post-laps with a ring out on the phrase “Lets get ready to rumble.”

1:00:04

The underscore builds toward the kiss which is interrupted by the helicopter sound substituted for horse wings.

14:45

The dialogue fades following the camera zoom out.

15:00

This dream sequence ends in a misdirection. The dialogue is treated with reverb and is time scaled to transition out of the dream.

47:02

Underscore is isomorphic, following the camera movements.

51:05

Reverb effectively defines both interior and exterior.

00:12

35 mm camera sound provides the foundation for the title sequence.

04:48

Underscore pre-laps for a back-story sequence and post-laps with a ring out transitioning to present time.

08:10

The voices in this phone split are not treated for perspective since both characters are on camera.

08:55

The sound of an off-screen car crash is used to imply the action, thereby softening its impact.

19:06

An example of reverse as the lumberjack flies back through the window.

20:35

Cultural referent for the live action film “Fletch.”

24:28

Futzed signal with radio interference added to reinforce the on-screen parabolic microphone.

25:08

Red Riding Hood’s screams are briefly interrupted for each camera flash yet the music plays through the scene. The audio shifts in perspective for each camera angle.

40:42

Reverb is progressively added to the dialogue, transitioning to the montage sequence.

1:01:26

The sound for the slow motion shot is treated with echo to play the subjectivity of the shot.

50:55

Hiccup’s dialogue line bridges the edit between the arena and the secret lair of the dragon.

1:00:30

Reverb is added to Stoick’s address to support perspective shifts to the arena where Hiccup prepares to battle the dragon.

00:00

Church bells and Gregorian chant serve as establishing elements in title sequence.

07:45

The cue builds as Hugo prepares to spit on the crowd below.

18:15

Isomorphism for the twitch of the guard’s mustache.

19:24

The backgrounds allow the audience to hear the previous captain being whipped off-screen, keeping the violence implicit.

20:10

The music hits with each word spoken by Frollo.

42:50

This is an extended isomorphism which is skillfully varied.

1:00:42

Quasimodo’s interior thoughts and feelings are presented in non-sync song, allowing him to make comment without interfering with the action.

1:15:55

Machine gun sounds are substituted for stones to exaggerate the visuals.

1:16:42

A WW II airplane by is used to cover the soldier flying through the air.

1:16:48

Cultural reference of the Witch in The Wizard of Oz commanding the flying monkeys.

00:25

The opening sequence is an extended feature of realistic BGs.

30:12

In this slow motion sequence, the music is not treated but the dialogue and FX are processed and pitched down.

31:22

Birds scream post-laps and a music cue pre-laps during this creative visual wipe.

49:48

Reverb is added to the hard effects to support the back-story provided visually through cave drawings.

08:41

Cue hits with each word in the dialogue “still have ice.”

15:06

Reverb is added to dialogue as the character sticks his head into the hole.

38:40

Whooshes are used as transitional sound for flashback.

59:50

The sound is muffled to play the subjectivity of the moment.

0:00

Opening sequence music switches from underscore to source to underscore.

5:20

Isomorphic cue to represent Elastigirl vaulting across rooftops.

6:48

French music is used to develop the Bomb Voyage character.

10:11

Dialogue is futzed to imply a television interview.

11:34

The BGs establish the monotonous environment of an office cubicle.

16:30

Bob’s rickety car is designed to show how “normal” he has become.

18:46

The dialogue is treated to shift perspective from kitchen to bedroom.

24:20

Bob hums along with the theme song underscore, blurring the lines between source and underscore.

26:54

Multiple futzed signals playing at the same time.

31:45

Both Mirage and Helen’s off-screen dialogue are futzed.

41:24

The montage sequence begins with a bongo drum roll pre-lap.

43:00

Futzing for Edna’s security gate speaker, cars pan off-camera as well.

53:00

The music cue hits when Mr. Incredible sees a dead super.

1:20:20

Dash’s footsteps get treated with reverb as he moves through environments.

1:23:53

Dialogue pans off-center in sync with character movements.

06:11

The phone ring pre-laps and the off-screen voices of the phone split are futzed.

21:02

The dialogue of the Giant is digitally treated.

56:55

This cue is a tick tock, marking time and influencing the pacing.

10:05

The teacher has a caw-like quality added to her voice, caricaturing her beak-like nose.

13:32

A ring-out is added at the end of the teacher’s scream.

17:02

Jimmy’s off-screen fall is treated with a descending whistle and reverb for added perspective.

17:57

Tween cover of “He Blinded Me With Science” updates the tune and shifts the gender focus.

20:20

Futzed game show music with vari-speed effect.

1:04:25

Source music “The Chicken Dance” heard from a distance to establish proximity.

9:52

Kaa’s voice has deliberate sibilance to caricature the snake hiss.

12:12

An accordion is used to cover the snake tail expanding and contracting (isomorphism). The sound of a rusty hinge is added to indicate that Kaa’s tail is broken.

23:55

The score accelerates as Mowgli’s pace picks up.

31:51

Delay is used to show the disorientation of Bagheera.

39:16

The score cadences in a manner that sounds more like a commercial break than a visual transition for a film.

11:06

Jock the Scottish Terrier is voiced with a Scottish accent.

13:40

Trusty the Hound is voiced with southern accent.

17:40

Bull the English Bulldog is voiced with a classic English accent.

22:22

A bassoon is used to create the sneak steps for the dogs.

23:00

Isomorphic cue is used to exaggerate head turns.

31:26

Oriental music for Siamese cats.

53:05

Schultzie the Dachshund is voiced with a German accent.

54:00

Boris the Afghan is voiced with a Russian accent.

55.35

Pedro the Mexican Chihuahua is voiced with a Mexican accent.

07:06

Varied BGs are used to define space and show time lapse.

26:07

Reverberant off-screen dialogue pre-laps.

32:55

Simba’s growls are initially dry then treated to echo.

37:45

The echo helps reinforce Simba’s isolation and helplessness.

50:34

The vocal pre-lap is treated with reverb, transitioning from off-screen to on-screen.

54:47

Pumbaa the warthog’s scream is sweetened with elephant trumpet.

107:04

Reverb is applied to Mufasa’s voice to contrast him from his living son.

117:23

Bowling pins exaggerate Pumbaa’s charge through the crowd of hyenas.

119:59

Reverb and pitching supports the slow motion (subjective) sequence.

25:25

Empty metal can drop sound is used to cover Sebastian’s jaw dropping.

32:41

Foley crab footsteps are blended with musical sneak steps.

45:45

Piccolo isomorphism for Ariel’s wiggling her newly acquired feet.

50:38

A door hinge and slam used to cover Sebastian passing out.

58:30

Off-screen dialogue transitions to on-screen, saving on time-consuming lip animation. The BGs in this sequence are prominent as well.

106:43

Boxing ring fight bell is used to exaggerate Scuttle’s impact against the boat.

1:08:39

Dive-bombers used to cover birds attacking the boat.

9:31

Pointalistic “Happy Birthday” followed by a whoosh that is motivated by a camera move.

15:20

Alex makes a humorous reference to ambience tracks. A powering-down sound is used to transition to urban ambience.

23:32

Subjective treatment for Alex getting drugged.

30:54

Dialogue post-lap accomplished with ring out.

32:40

Cultural referent of Hawaii 5.0 with vari-speed effect, followed by quote from Chariots of Fire.

55:00

Parody on American Beauty, reverb ring-out is outpoint.

18:35

Bowler Hat Guy laughing with extended post-lap.

44:14

Off-screen voice-over futzed.

51:50

Multiple whooshes follow the camera movements.

104:25

Dialogue playing across the time lapse. Futzed radio supports time lapse.

108:12

Harp isomorphism for descending then ascending visuals.

110:00

The sound on the archive video is futzed to sonically imply that the footage is aged.

01:53

Impacts are pitched to the score.

14:18

This form edit morphs a painful scream into an adoring crowd.

29:30

Echo

45:42

A whoosh follows the camera move.

53:30

The ring of the wine glasses are pitched in the resolution of the underscore.

1:02:43

Score hits with each floor crash.

14:36

Dream sequence misdirection.

25:40

Pitch shifted doorbell foreshadows what is to come.

06:17

Recitative style of story delivery.

11:24

Doorbell sweetener of girl screaming.

38:02

Minor version of “Jingle Bells” plays the disconnect with the season.

50:38

Minor version of “Here comes Santa Claus”, plays the distorted narrative.

108:18

News announcer’s voice transitions from full frequency to futzed as the shot transitions to television.

24:20

Dream sequence ends in misdirection.

34:11

The off-screen sound of screeching tires completes the off-screen crash, making the action more implicit and less violent.

34:55

The POV shifts as the opossum talks in English for the audience and squeaks when viewed from the human characters perspective.

110:59

The slow motion sequence is treated by removing all diegetic sound, leaving only underscore.

08:43

The above and below surface environments have changes in EQ and reverb to provide contrast.

30:15

Pocahontas’s speech transitions from Native Indian to English.

05:00

The sound of the clock transitions from the present reality to the subjectivity that is the extended dream sequence.

14:30

A harp gliss covers the camera move (isomorphism).

15:35

The sound of the train engine morphs into a percussive element of the score.

110:48

The BGs and Walla fade and the source music is treated with vari-speed.

128:15

The clock is used as a transitional device, moving out of the dream sequence.

21:35

The song is the narrative element that links Moses to his past. The song is sung in his thoughts, perhaps to conceal his understanding from the Egyptians.

39:01

The song “Through Heaven’s Eyes” is presented as a montage but ends with source music.

54:38

This recitative style of song delivery is common for the villains in animated musicals.

06:30

BGs pre-lap to support the time lapse.

08:52

SFX are integrated rhythmically with the song.

41:06

The wave sound whooshes as a transitional device from the swamp to the Antebellum home.

1:12:58

The Riverboat horn pre-laps.

12:05

SFX morph into score in the dance fight sequence.

28:10

The SFX and dialogue in this subjective moment are pitched and rhythmically slowed down.

4:54

Ave Maria underscores the slow motion shot that ends in the terrarium crashing through the car window. The underscore is abruptly interrupted to transition back to reality.

5:52

Exaggerated sounds as Rango is exposed to the intense heat. The sound of the water drop exiting the glass implies a dry spigot. The water sizzles as it hits his tongue for an exaggerated effect.

14:04

The lizards line “you son of a” … (interrupt) … Hawk squeak, infers the profanity rather than being overt.

1:05:22

Wagner’s “Ride of the Valkyries” is customized with banjo, jew’s harp, and harmonica to give it a western feel.

02:00

Narration seamlessly transitions to and from the principal dialogue using level and no reverb.

04:19

The television is futzed but the underscore is not.

08:50

Gusteau’s cooking show is futzed.

10:17

The dialogue changes from English to rat squeaks as the POV switches between the rats and the gun-wielding old lady. This treatment suggests a design rule that rats are not to talk to humans.

16:08

Additional reverb reinforces the sonic movement as Gusteau is sucked into the bottle. “Food always comes …”

21:04

Flutter trumpets stay on same note while strings play a descending line as Remy falls from the ceiling into the kitchen (isomorphism).

25:08

When we are listening to the dialogue through Remy’s ears, reverb is added.

39:18

Off-screen crash is heard rather than seen to de-emphasize the action.

57:01

The dialogue pre-lap is extended, as the father says “My son has returned …”

1:13:10

The underscore hits with each of Remy’s words.

1:23:30

Heartbeats morph to footsteps and a door knock as we transition out of the dream sequence.

1:36:25

Transitional whooshes that follow the camera move, followed by exaggerated FX for slow motion pen dropping to floor.

1:41:13

Voice over to diegetic dialogue as Remy is revealed as the storyteller.

00:35

Title sequence begins with ambience that morphs into a Samba. Each type of bird contributes to the musical layers.

12:15

The sound of the airplane pre-pals as Linda and Blu fly to Rio.

56:52

Boxing ring bell morphs into a trolley bell (form edit).

65:00

The SFX and dialogue in this subjective scene are pitched down and rhythmically slowed down, yet the underscore remains unaffected.

72:30

1980s pop ballad is used to creates a romantic mood which gets interrupted (misdirection) as Blu and Jewel’s beaks collide.

82:25

Nigel’s ultimate doom is completed with off-screen sound.

03:10

Car tire skids are used to exaggerate the arm extension. A door opening is used for hand movements over the eyes.

44.00

The score builds toward misdirection, ending in a vinyl rip.

06:43

Sir Hiss’s voice has a deliberate sibilance.

45:20

The rock underscore takes you out of the period

0:00

The ticking clock morphs into the underscore. The clock is a metaphor for what makes a robot tick.

5:28

Television source music is futzed.

8:07

Off-key underscore “Pomp and Circumstance” establishes the narrative that he is graduating. The time lapse is designed with 35 mm snapshots sounds.

10:10

A vari-speed effect is used to reinforce the failure of the dishwasher.

18:30

The tempo of the cue follows closely with the visual pacing.

20:05

The underscore sets up the misdirection.

23:55

This isomorphic cue ends with three hits.

31:55

The SFX are pitched up even as the robot falls.

37:30

Aunt Fanny’s large posterior is exaggerated using the beeping sound of a truck backing up.

40:30

The impact of the flatulence sounds are exaggerated with car alarms.

52:34

“Singing in the Oil” is an homage to “Singing in the Rain,” this rendition sets up a misdirection.

100:58

Extended post-lap as Fender screams for help.

119:45

Bigweld asks the microphone to stop echoing.

00:45

“Jaws” theme quoted (cultural referent) to set up a misdirection.

03:51

Title music gets interrupted with quiet Sushi Bar music for comic effect.

11:00

Voice pitches up when blowfish expands.

25:00

Dialogue is pitched down for slow motion sequence.

35:28

Each time the words “Shark Slayer” are said, a cue begins.

45:05

Lenny realizes that there is an echo and refers directly to it.

1:14:58

Subjective treatment for slow motion shot.

00:00

The opening music establishes a fairy tale mood that sets up a misdirection.

14:00

Shrek’s yell is treated with an audible delay.

20:38

The panning for this character movement is very literal.

21:20

The source music is typical lounge music in a Latin style, a comedic choice for a film set in the mythical time period.

48:45

The dialogue for the magic mirror is treated with vari-speed and reverse effects.

52:55

The cue suspends harmonically as the princess prepares to kick the two men.

02:34

35 mm projection sound is added to reinforce the home footage look.

15:00

The cue pre-laps.

103:33

The magic wand sounds transitioning to fireworks (form edit).

00:22

The opening music sets up the misdirection as the horse is soon revealed as a prop. The soundtrack is gradually futzed as camera zooms out.

08:07

Underscore ends abruptly as the window shade is closed, showing his unwillingness to show feeling toward the cat.

09:30

The music supports the misdirection of the King’s death.

19:21

The ship’s horn masks Fiona’s proclamation that Shrek is a dad.

21:07

The sound supports a double dream sequence.

36:41

Whooshes are used for each transition as the gingerbread man’s life passes before his eyes.

52:15

Underscore to source cue as the piano is revealed and Donkey says “lookout, they have a piano.”

00:33

Parody on Also Sprach Zarathustra morphing into the Simpsons’ theme.

110:18

Misdirection

116:28

Isomorphic cue follows camera move.

108:30

Cue builds toward a misdirection.

07:42

The dialogue pre-laps and is scored with futzed Hawaiian music playing on the radio. The boom pole dipping into the shot adds a nice touch.

10:08

Various ethnic music cues establish the many locations visited.

11:09

Exterior to interior environments are established with reverb.

14:22

The volume on the montage music is dipped momentarily for dialogue.

26:40

Foley footsteps

30:44

Futzed sound of 35 mm film is added to the shot to reinforce the archival footage.

38:00

Romantic music gets interrupted for comic effect. Subsequent audio is treated to imply bad production audio.

40:40

Feedback is added to the boom pole movement to make fun of the notion of production audio in animation.

52:57

Extended vari-speed effect to show how hard he is working.

1:06:55

This scene is a musical duet with Rapunzel and Flynn Rider. The song is presented through their interior thoughts rather than lip sync. This design approach plays nicely on the notion that Rapunzel must not reveal her feelings or her location. By the end of the song, Rapunzel and Flynn are able to share their thoughts openly through song.

1:16:20

This cue builds as Rapunzel’s true identity is revealed. Whooshes provided transitional sound for flashbacks and camera moves.

00:00

Title sequence provides back-story. Sound and score accompany each form edit that transitions us between the world of the humans and the apes.

11:09

Source to underscore.

15:52

The sound of a race car exaggerates Tarzan’s speedy pass by.

25:30

The cue builds toward a misdirection.

28:40

Tarzan’s scream is seamlessly pitched with the underscore.

42:05

This sequence is a clever blending of SFX and score.

109:40

The elephant trunk is caricatured with a trumpet.

38:13

Synthetic dialogue with subtitles.

42:30

Synthetic dialogue with subtitles.

51:45

Synthetic dialogue with subtitles.

09:13

Group ADR for children attending the birthday party, mostly off-screen.

11:17

Futzed radio

14:47

Buzz Lightyear breathing from inside his helmet. POV

18:56

Toy plane sound transitions to WW II dive bomber for exaggeration.

21:43

Pleasant BGs coming from Andy’s window.

32:20

Dialogue enhancement as Buzz discusses his mission.

34:34

Toolbox crash post-laps with a ring-out.

35:20

The straw movements in a cup is used for footstep Foley.

39:00

The BGs for Sid’s environment are consistent with his dark personality.

44:44

The sound of the dog’s breathing is exaggerated, representing the toys’ perspective.

45:55

The mockup Buzz Lightyear television commercial is futzed.

55:41

Wind-up clock sound is used to transition from Sid’s room to Andy’s room.

1:06:30

Woody’s voice is futzed initially and then transitions to full resolution on the line “So Play Nice.”

1:12:04

The tension in the shot is temporarily broken when we hear source music “Hakuna Matata” (cultural referent) from The Lion King futzed in the interior of the car.

1:14:59

Sleigh bells are introduced in the score as the shot pre-laps from summer to winter.

00:33

The entire opening sequence is a misdirection and homage to Star Wars.

04:26

Zurg’s laugh transitions to a futzed version as video game play is revealed.

10:29

This extended dream sequence becomes very subjective at 11:08.

20:15

The BGs from Big Al’s apartment include emergency vehicles to establish the danger that Woody is in.

27:58

The source music is treated with a vari-speed effect to reinforce the phonograph.

32:01

Buzz Lightyear’s dialogue is enhanced with underscore, eventually morphing into the “Star Spangled Banner.” This concept is continued as the underscore becomes source for a television sign off.

37:24

The cue plays only when the toys move.

58:20

The footsteps are represented by both music cue (sneak steps) and Foley.

1:10:42

Cheesy source music creates a comic relief while also establishing the space.

00:31

The implied narration sets up the misdirection which is soon revealed as diegetic (talking book). Vari-speed is applied to the sound track for both the closing and opening of the book.

06:07

Dialogue is treated with a Vocorder to create a robotic effect.

17:18

An alien speaks in “Flatula,” no subtitles provided for interpretation.

33:07

John Silver’s voice post-laps.

00:49

The opening sequence is futzed and sweetened with film warping sound. The soundtrack transitions from diegetic to non-diegetic, as the narrator becomes a product of Carl’s imagination.

12:04

Exaggerated cracking sound to direct the audience’s attention to Carl’s bad back. This is followed by off-screen sound of electric stair chair. Both sounds are used to develop the character.

21:50

This sequence is an extended fantasy sequence with non-literal treatment as not to reveal the misdirection.

26:34

A radio squelch is added to Carl’s hearing aid as he turns it down to avoid hearing Russell talk (POV).

50:08

The word “roof” as spoken by Dug is substituted with an actual bark that sounds similar.

02:15

Futzed propaganda reel with period music. The cash register sound represents quality enlists and the Kalooga horn is used for the rejects.

06:24

The BGs and score are dark for scenes with the bad guys.

29:00

Dialogue enhancement.

45:06

The use of reverb to transition movements from the street to the sewer.

47:43

Source music.

00:00

Nearly 23 minutes go by without any principal dialogue yet the narrative is effectively communicated. This is an extraordinary accomplishment in sound design.

00:00

The title sequence is scored with “Put on your Sunday Clothes” from Hello, Dolly! This is an anempathetic choice of music that is treated with multiple perspectives to match each of the environments that Wall-E moves through.

05:05

The dialogue in the B & L commercial provides the back-story.

10:00

The Macintosh power up chord is used to represent Wall-E becoming fully recharged.

23:07

The first recognizable words by the principal characters Wall-E and Eve are digitally processed and faintly recognizable.

02:45

The beeps for the eyes are used as a transitional device for the form edit that follows.

23:32

Car alarm is used to represent the securing of the greenhouse.

27:45

Underscore is revealed as source as a comic effect.

39:20

The ringing of the dog’s eyes transition via a form edit to actual bells.

47:25

Cliché thunder claps for repeated dialogue and whooshed for camera move.

51:02

Music cue syncs each time the dog points his finger.

00:33

Homage to Carl Stalling and the early Warner Brothers cartoons.

09:01

Underscore to source.

22:13

Dialogue from Marvin Acme transitions to Roger Rabbit “Patty Cake.” The sound is meant to make upsetting off-screen action implicit.

111:05

Isomorphic cue follows camera moves.

113:20

Foley footsteps transition to a train sound for exaggeration.

00:00

Narration to on-screen dialogue. The underscore starts and stops with each story being told.

4:40

Whip Foley for squirrel Kung Fu followed by a cash register sound as the steak is delivered to Sampson.

11:08

Prepared piano as isomorphism.

36:30

The sound of a whip and horse whinny exaggerate the squirrels’ pantomime of horseback riding.

37:00

The eye blink is covered with a camera shutter.

53:26

Echo.

58:56

Isomorphic cue for the camera zoom.

1:00:30

Sampson’s instincts are represented by reverberant V.O.

30:41

The clock slows down and has reverb added, making it a transitional device to the dream sequence.

42:06

Underscore cadences and dialogue pre-laps with parachute wipe followed by futzed radio.

46:20

Ham radio split is futzed when voice is off-screen.

47:25

Elephant trumpet sound has a ring out to post-lap.

54:58

Cue fades in with visual wipe.