The Work of Hildegard Westerkamp in the Films of Gus Van Sant

This piece centers upon a discussion with Hildegard Westerkamp about the use of her soundscape compositions in the films of Gus Van Sant. My questions to her reflect my interest in how her work operates on two simultaneous levels within these films: that of appropriated material originally designed for a non-cinematic context, and that of sound design which could easily be mistaken for material produced especially for these films. The result of this dual-layered positioning is an intriguing hybrid of the effects of a compilation soundtrack and dedicated sound design, and her answers to my questions offer valuable insights into the re-positioning of her work within this context. I then draw on these insights as I examine two important shots from the end of Last Days which I believe are reflective of Van Sant’s “Death” trilogy as a whole. Ultimately my aim here is to illustrate how certain concepts that Westerkamp deals with in her own work are similar to those explored by Van Sant, making his appropriation of her work decidedly appropriate. As such, Van Sant’s engagement with Westerkamp’s work offers a very special example of how films might be designed with sound in mind.

• The Work of Hildegard Westerkamp in the Films of Gus Van Sant
  By: Randolph Jordan
   

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