Retrospective 2013 // Veronika Hlawatsch
© Veronika Hlawatsch
Statement Veronika Hlawatsch
Sounds which make us happy:
- The rustling of leaves from last summer in the wind,
- The dripping of an icicle thawing in the sunshine,
- The gentle crunch of my footsteps in the snow.
The beauty of sound lurks all around us.
For those who go through life with open ears and respond sensitively to sound waves that permanently touch us, these convulsions of air are an enriching aural accompaniment in eve-ryday life. It’s not MP3 players which orchestrate my life. Rather, the gentle squeaking of underground railway doors, the scraping rasp of shoes on metal grates or the soothing breathing noises of the person opposite always sound like a symphony to me.
For me, adding sound to films means finding the perfect sound for each image, a sound that best supports the situation which is being depicted at a given moment and which creates a dramatic soundscape for the whole film. This occurs both at a micro and macro level – in the subtlety of finding the right balance of speech and creating the sound of footsteps on soft forest soil, for example, right through to constructing elaborate tone paintings.
Since 2001 working as sounddesigner for international awarded feature and documentary films like „Pas de repos pour les braves“ by Alain Guiraudie, „Fremde Haut“ by Angelina Maccarone, „Darwins Nightmare“ by Hubert Sauper, „Prater“ by Ulrike Ottinger, „Der Räuber“ by Benjamin Heisenberg“, „Tag und Nacht“ by Sabine Derflinger, „Michael“ by Markus Schleinzer, „Empire Me“ by Paul Poet and „Grenzgänger“ by Florian Flicker.
„Österreichischer Filmpreis“ for best sounddesign 2011 for „der Räuber“ by Benjamin Heisenberg and 2012 for „Michael“ by Markus Schleinzer.