ALL THE STREETS ARE SILENT
ELKIN EDITIONS
In the late 80s and early 90s, the streets of downtown Manhattan were the site of a collision between two vibrant subcultures: skateboarding and hip hop. All the Streets Are Silent brings to life the magic of the time period and the convergence that created a style and visual language that would have an outsized and enduring cultural effect. From the DJ booths and dance floors of the Mars nightclub to the founding of brands like Supreme, this convergence would lay the foundation for modern street style. Paris Is Burning meets Larry Clark’s KIDS, All the Streets Are Silent is a love letter to New York—examining race, society, fashion, and street culture.
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From EB — ATSAS exists as one of the most extensive and detail oriented documentaries I’ve ever worked on. The sheer amount of sound we utilized in creating the soundscape for this film was massive. From sourced material, going into the field and recording our own ambiences, to completely recreating environments from the 80s-90s in NYC, there was never a shortage of a challenge when it came to finding the right sound for the image. A lot of documentary sound design lately has come across as being a bit "one size fits all". The sound effects used to sonically portray the imagery, whether it be archival, b-roll, title animation, etc, seems to be coming from the same place. Yet, the image wasn’t plucked out of a library, so why should the sound be?
Every sound effect used for pictures, titles, etc were created for this film — utilizing vintage camera equipment, modern camera equipment, DJ equipment in the digital and analogue domains, and so much more. And sure, there are moments where leveraging a huge sound library can be beneficial. Instances where layers were of the utmost importance to create depth in our sonic image were great opportunities to find sounds that played well together, but never leaning on singular sounds in these scenarios. The goal was to create a collage, as can be heard in this film, that transports our audience to the 80s and 90s in NYC. The mix should feel vintage in many aspects, and do nothing but scream, or whisper, the originality and bespoke design that exists and was created for an incredibly special film about this subject.
+ CREDITS
Directed By: Jeremy Elkin
Produced By: Dana Brown
Co-Produced By: Khyber Jones
Associate Producers: Allen Grant, Josh Stewart, Samuel Gursky, Ted Newsome, Eric Brown
Executive Producer: David Koh
Original Score: Large Professor
Mix Facility: Harbor Picture Company
[slide-right]All The Streets Are Silent
Directed By: Jeremy Elkin
Produced By: Dana Brown
Distributed By: Greenwich Entertainment
Task: Associate Producer + Supervising Sound Edit and Mix[/slide-right]
