I started by asking how their three-person dynamic works. The three filmmakers-Stefano Mandalà, Alessandro Antonaci and Daniel Lascar-along with their lead, Penelope Sangiorgi, met with me recently to tell me all about the challenges in making Sound of Silence. And I'm thankful for that.Sound of Silence is a new film from the writing and directing trio known as T3 it is a film about two contrasting forces: of sound and the past. So I turn back to the comfort of a kind of terror I'm used to: the kind that's "all in my head." This kind simply starts in my ears and pulses inward rather than from my brain out. But it wasn't real outside of the very real-feeling clicks and ticks of my own mind. A low-level panic and under-the-skin quaking is my most familiar waking sensation. My brain and body have forced me to experience unyielding fear and terror my whole life. These are largely standalone stories that exist on their own and do not necessitate ordered listening, allowing listeners to come and go as they please, to skip what doesn't feel right, and - very, very often - let me drift to sleep on my pillow of fabricated dread rather than the organic, fresh-brewed existential dread we've all gotten so used to.įor those of us who suffer from anxiety and depression, in some strange ways it feels like our whole lives have built to this, preparing our minds and bodies for the unthinkable and impossible to predict. Among their many pluses is the (mostly) lack of narrative throughline. My own solace has come in the form of The No-Sleep Podcast and Creepy, two podcasts producing audio versions of creepypasta stories from Reddit, as well as The Magnus Archives, a series of stories from the fictional, titular archives of the Magnus Institute, dedicated to studying the strange. We know what we're witnessing is pretend, make-believe.Īnd right now, when real life is so frightening, there is solace in pretend terror, in temporary fear made manifest out of someone's imagination rather than our inescapable reality. And then safety is found in the lack of realism. Essentially, our bodies respond to the shock and awe present in the work, and our emotions react to the personal stakes we have in whatever we're watching, a shared fear or experience similar to our own. Glenn Walters identifies three primary factors that make horror appealing: tension, relevance, and unrealism. In a paper for the Journal of Media Psychology, Dr. ![]() There exist myriad studies delving into why horror is enjoyable for certain individuals. But over the past few months, they've taken on a new and necessary layer. As a horror fan, these audio dives into creepypastas and original stories of the macabre have long been a source of entertainment. That works, too.įor the past few months, I've found distraction in a seemingly unlikely area: the horror podcast. Or, we immerse ourselves in terror and dread. So we attempt to dull the senses, or we take comfort in the familiar, the soft, the warm, covering ourselves with blankets of nostalgia, bread, and beautiful until we can look up and see something beyond the real and horrifying. We're in this thing until we're not anymore. But we still don't know when hindsight will happen. There are some experiences and sensations words can't describe until they're over, hindsight filling in the blanks like paint-by-number. A handful of adjectives attempting to describe the all-of-this of all of this.īut there aren't really words for it. ![]() We've all heard the words on repeat for months now.
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