How the crafts of Joker tell Arthur Fleck’s story
and several other categories. It is a film filled with visual and sonic clues to help tell the story of his emotional journey – wherever it takes him.
Groth worked with Lawrence Sher who served as director of photography on the film. Having worked together before withand Sher, Groth knew that all their shots served a purpose. “When you get done putting a scene together, it’s very clear nearly all of those bits of purpose have their place. Ultimately, some emerge as redundant and wind up deleted.
Re-recording mixer Dean A. Zupancic says the first third of the film has no dark sounds. The importance of that was that if they went dark too soon, “The viewer would not empathize with Arthur’s character before his decline.” Tom Ozanich who is a re-recording mixer on the film says, “One of my favorite scenes in the movie is the one where Arthur is waiting to come out from behind the curtain onto the Murray show. There are a few interesting things happening here with the sound. The show is happening live in the studio and we are hearing it as if it’s really happening but on the other side of the curtain.
I felt that went well with the character.” She says of the score which also progresses as he descends into madness. The drums get louder and the cello sound darkens. “He is seen in this certain way and there are many layers of complication behind him, but he doesn’t see it. I thought orchestrating it that way, so that instruments are not always audible, you will think you’re just listening to one cello but, like Arthur, there are layers behind it.
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