Audio Components
Audio in relation to sound and moving image covers everything that can be heard along with watching a piece of video footage. It can consist of speech like monologue or dialogue forming either a non-diegetic narrative, or a diegetic conversation between actors on screen, as well as covering any ambience or atmospheric sound to give the feel of the setting the film is shot in, any background or foreground dialogue, overdubbed foley FX linked to the visual action and music both as a composed score,more abstract collage of soundbites from all the for mentioned elements to act as a sound accompaniment or existing recorded music licensed for use with the motion picture.
Firstly speech is the most commonly found audio in film, television or documentary work. It can be either diegetic on non-diegetic. Diegetic is where it is purposely fitted with the image or suggested to be part of what's happening in the image, so what a character in the image is saying, or a sound of a gunshot if somebody shoots a gun on screen and we see it happen. Non-diegetic therefore is something we hear with no direct relation to what we see on screen, so this could be a narration to the images like a storytelling, or in documentary's giving us factual information about what we are seeing. An example of these two things is below. The clip from stand by me contains the main character as a child with his friends finding a dead body, and then the voice of his older self narrates the situation they've just entered into, with no relation to the characters on screen, just as a retrospective narration not in the time of the video. This occurs 45 seconds into the video clip.
Below is an example of diegetic dialogue, which is more common. Often in recent cinema history this is overdubbed by the actors in the studio after filming has ended, so the recorded dialogue is clean and well recorded. It's very rare for any original sounds, ambience or speech to be kept from the original source material which is why soundtracking is so crucial to moving image in any form. There are examples in film where overdubbed dialogue is noticeably out of sync with the mouth movements of the actors on screen which is an obvious floor of overdubbing especially with older film where limited technology and recording to tape made the process more difficult than it is today. Below is a clip from a western classic in which dialogue is overdubbed poorly and is clearly not said by the actors at the time, and on occasion barely mirrors the mouth movements of the actors. This can be down to the different languages the film was made in, but in this case it isn't. The majority of examples in film are unnoticeable overdubs, but this clip shows more clearly than a good example how overdubbing is done, and this is evident from 1 min 10 into the clip.
Atmosphere and foley effects are used to bring to live what is seen in the video, and to give you the feel of what the place on screen is like, and aims to transport you to that place with accurate recreations of the common sounds heard in such settings. Foley effects which are overdubbed recorded sounds of what you would expect to hear when something happens be it very minor or significant like a slamming door, footsteps a gunshot etc. These effects add emphasis to the action taking place on screen and can be overly dramatic depending on the genre or intention of the footage, and many directors play on this as a technique in their film making. An example of this is Edgar Wright and his film Hot Fuzz, in which he uses very dramatic almost unrealistically dramatic sound effects for common occurrences that he has noticed from the films he was inspired by. Here's a Hot Fuzz clip that illustrates this technique. It contains large echoey sounds when slamming hands on the table, which seem to contain a sort of sub bass tone or reverse hit to emphasise the impact, and also when the door is opened in the clip it's a very loud squeak to add emphasis to the another character having entered the scene. These are seen throughout this clip, and indeed throughout much of the film.
A more clear example of atmosphere can be found in scenes in public places, where the characters could be in a pub, at a train station or in the street, where the atmospheric sounds need to convince the audience that they're hearing the sounds of this setting and not rouse suspicion that they may be overdubbed or from another setting altogether. Attention would be paid to the amount of voices in creating a background drone of conversation depending on how many people are in the background of a scene or in the vicinity of the setting, and also typical sounds the brain may expect to hear, for example in a pub the clink of glasses or darts hitting a dart board, or in the case of a train station the sound of whistles, distant PA announcements and squeaking breaks on tracks. Recording for this could be field recordings taken specifically for the piece, from the setting in which the scene takes place and in similar conditions to ensure its accurate, or it could be taken from an archive of popular or good atmosphere's and do the job just as well. A good film example of this is in the following clip from Harry Potter on the platform of the train station. We hear typical noise pollution from traffic outside, occasional train track sounds and 45 seconds in a distant announcement, as well as the sound of the trolley Harry is pushing as well. The key to this atmosphere is subtlety, and is almost best if you don't notice it as it proves therefore it is doing it's intended job by being unobtrusive but subliminally ensuring you are aware of the setting of this scene.
Finally a key audio component to a moving image is a musical accompaniment in the form of a score, existing piece of popular music or an abstract set of sounds depending on the style or intended emotions the creators wish to evoke in people with the scene. This is arguably the most important part of audio to moving image, and has been said that a score can make or break a film. Scoring in the classic sense is a composer writing a classical/orchestral or rather more contemporary (for the time) set of musical pieces to accompany scenes, and help tell the story on a more emotional level, and to convey a story with more than just dialogue.
Firstly, an example of use of existing music appropriate for use in a scene as requested by the director for the scene as they envisaged it. A great example is Quentin Tarrentino's use of Stuck in the Middle with You in the scene from Reservoir Dogs. This music works for many reasons, firstly as it is a tune synonymous of a certain era, which the radio station it's played upon is keen to play. The character puts that song on it cleverly switches from a diegetic to non-diegetic use of the song, as first we hear it muffled and filtered as it would sound were we hearing it from the single radio speaker sat in the position of the tied up Police man. Then it becomes full fidelity and totally present in the speakers, as the action on screen takes over our attention, and the tune therefore becomes non-diegetic, until the character who put it on begins to sing to it, his vocals bringing it back the diegetic again. It's a great choice of song for the scene too due to it's ironic timing of lyrics and the irony of it's happy-go-lucky vibe given the police man's horrific predicament. The placement of the lyric "It's so hard to keep the smile from my face" just as the policeman has his ear cut into by the other character. This is the only real reason an existing piece of music would be used for a scene, rather than a bespoke composition being created to do the job. However, when writing a film about a certain scene, era or period of time songs must spring to mind which would fit perfectly if not in sync with a scene, but the time of the film making it especially real for those watching who may have experienced the time. A great example of this is The Boat That Rocked, which uses 60's hits by The Beach Boys, Turtles, Kinks & Rolling Stones to fit the period of time in which the story is set which is England 1967 aboard a pirate radio station, making these tunes the obvious choices for use in accompaniment to the visuals. But anyway, in this case here is the Reservoir Dogs clip illustrating a use of popular music in film for a specific and ironic effect.
Reservoir Dogs Clip
Another clever technique used, is that when the character leaves the warehouse the music stops, as if he we, like him, are out of earshot of the radio, and then we re-enter than warehouse and the track resumes, adding reality to the use of the sounds. While outside, we hear a typical neighbourhood ambience, which is use of the earlier mentioned technique. So altogether this is optimum use of existing music, fit for it's purpose and more appropriate than any bespoke music could be for this scene, with the added bonus of relatable music for audience members.
Scores made especially for a film were typically devised by trained composers, working closely with the director to know the story line and the scenes they were writing for inside out before making any music for them. A classical score for large orchestra is a staple sound of the classic horror film, with dissonance and staccato stabs being clever techniques to accompany specific on screen actions, and evoke fright in the audience. A good score could pre empt an imminent event, and plant the seed in their head that something was about to happen and leave them on a knife edge until it did happen, and a typical visual surprised would occur with a perfectly synchronised abrupt orchestra stab at high volume for full scaring effect on the audience. The most famous example of the compositional and playing techniques in a classical score is for the well known shower scene of Anthony Hopkins' Psycho, scored by Bernard Hermann. As the murderer approaches the victim their is silence but as the shower curtain is pulled back the sticatto stabs of strings begin and as the victim is stabbed they add dissonant harmony and rise in urgency. This happens around 1.30 into this clip, but before that sees a more tranquil and mellow side to Hermann's score, which makes the murder a more poignant contrast in sound, but also doesn't allude to the shock murder to follow, which is classic diversity and clever score writing.
Psycho clip
Another feature of a score is a character motif, written to appear whenever a character is seen on screen, and to change the character or tone of the scene, and lead us to either empathise with or dislike a certain character, a technique dating back to early days of cinema, when the score was gaining importance. A great example of motif's is in the 1933 King Kong, where the Gorilla and it's female captive have their own motif's which reflect their personalities, and purposefully lead us to form our opinion on them. Faye Wray, the female character has a soft and delicate light motif played with warm chords to make us thing she's a good person we should back, where as king kong's motif though using the same notes in a slightly different variation is played with aggression and sounds foreboding, telling us king kong is the bad character that we should be afraid of.
Finally a score can be more abstract and not follow a typical musical structure, but suit the picture perfectly. A great example of an abstract ambient score with harsh FM synthesised cracks to represent hearing damaged from fired canon's is that in the psychedelic film A Field in England by Ben Wheatley, scored by James (Jim) Williams. This clip of the "psychedelic scene" represents a mushroom fuelled drug trip for the main character, where he has his civil war trauma re-enacted, and represented by the harsh FM synth tones around 3.30 into this clip. It is a spacious, dissonant score that seems to follow no time scale or tempo, so catches you out, and also the mood is perfectly fitted to the fast cut of two scenes being laid over each other rapidly to trick your vision and bring on a sort of psychedelic viewing experience, which the odd and ambient score with occasional sounds perfectly compliments. This happens around 2.30 into the scene, with the fast cutting shortly after, creating this desired effect.
A Field in England clip
The music from A Field in England, King Kong and Psycho is all incidental, meaning it was composed to the visuals, and for the visuals, were as the musical examples from The Boat That Rocked and Reservoir Dogs aren't. The songs are more of a soundtrack than a score, but these can cross over.
Video Components
The visual components of a piece of film or television refer to anything we see on screen as an audience member, the way the images we see are edited and the effects applied to them to alter our perception of what we are seeing, and enhance simple visuals with techniques to interest and stimulate us contributing to an interesting overall experience.
The first visual component is whether what we see is real, as in using real actors, sets and props, or is animated or indeed a hybrid of these two things. This is often dictated by the themes, style or genre of the film and of course whether it is a fictional piece like a film would be, or a factual programme like a documentary which would use real footage with little simulation of anything to preserve the reality. Factually documentaries do have some editing techniques however to make them more interesting and revealing of the action to the viewer, for example in nature documentaries scenes are slowed down to only a few frames per second to show us in great detail what's happening so we can fully take it in. Other than this nothing much is added to a documentary style visual, or augmented for our entertainment as the key is to be educational and true to life. Here's a clip from a BBC nature documentary exhibiting the slow motion for purposes of explanation, with serious and factual narration adding to the overall formality in informative style of the piece. The slow motion in this clip is to show a predator stalking pray, and is useful for us to fully understand the predatory technique. This occurs at 1.20 into the clip, and Attenborough provides insightful and factual narration throughout, befitting the style.
Planet Earth Clip
Another clever technique used, is that when the character leaves the warehouse the music stops, as if he we, like him, are out of earshot of the radio, and then we re-enter than warehouse and the track resumes, adding reality to the use of the sounds. While outside, we hear a typical neighbourhood ambience, which is use of the earlier mentioned technique. So altogether this is optimum use of existing music, fit for it's purpose and more appropriate than any bespoke music could be for this scene, with the added bonus of relatable music for audience members.
Scores made especially for a film were typically devised by trained composers, working closely with the director to know the story line and the scenes they were writing for inside out before making any music for them. A classical score for large orchestra is a staple sound of the classic horror film, with dissonance and staccato stabs being clever techniques to accompany specific on screen actions, and evoke fright in the audience. A good score could pre empt an imminent event, and plant the seed in their head that something was about to happen and leave them on a knife edge until it did happen, and a typical visual surprised would occur with a perfectly synchronised abrupt orchestra stab at high volume for full scaring effect on the audience. The most famous example of the compositional and playing techniques in a classical score is for the well known shower scene of Anthony Hopkins' Psycho, scored by Bernard Hermann. As the murderer approaches the victim their is silence but as the shower curtain is pulled back the sticatto stabs of strings begin and as the victim is stabbed they add dissonant harmony and rise in urgency. This happens around 1.30 into this clip, but before that sees a more tranquil and mellow side to Hermann's score, which makes the murder a more poignant contrast in sound, but also doesn't allude to the shock murder to follow, which is classic diversity and clever score writing.
Psycho clip
Another feature of a score is a character motif, written to appear whenever a character is seen on screen, and to change the character or tone of the scene, and lead us to either empathise with or dislike a certain character, a technique dating back to early days of cinema, when the score was gaining importance. A great example of motif's is in the 1933 King Kong, where the Gorilla and it's female captive have their own motif's which reflect their personalities, and purposefully lead us to form our opinion on them. Faye Wray, the female character has a soft and delicate light motif played with warm chords to make us thing she's a good person we should back, where as king kong's motif though using the same notes in a slightly different variation is played with aggression and sounds foreboding, telling us king kong is the bad character that we should be afraid of.
Finally a score can be more abstract and not follow a typical musical structure, but suit the picture perfectly. A great example of an abstract ambient score with harsh FM synthesised cracks to represent hearing damaged from fired canon's is that in the psychedelic film A Field in England by Ben Wheatley, scored by James (Jim) Williams. This clip of the "psychedelic scene" represents a mushroom fuelled drug trip for the main character, where he has his civil war trauma re-enacted, and represented by the harsh FM synth tones around 3.30 into this clip. It is a spacious, dissonant score that seems to follow no time scale or tempo, so catches you out, and also the mood is perfectly fitted to the fast cut of two scenes being laid over each other rapidly to trick your vision and bring on a sort of psychedelic viewing experience, which the odd and ambient score with occasional sounds perfectly compliments. This happens around 2.30 into the scene, with the fast cutting shortly after, creating this desired effect.
A Field in England clip
The music from A Field in England, King Kong and Psycho is all incidental, meaning it was composed to the visuals, and for the visuals, were as the musical examples from The Boat That Rocked and Reservoir Dogs aren't. The songs are more of a soundtrack than a score, but these can cross over.
Video Components
The visual components of a piece of film or television refer to anything we see on screen as an audience member, the way the images we see are edited and the effects applied to them to alter our perception of what we are seeing, and enhance simple visuals with techniques to interest and stimulate us contributing to an interesting overall experience.
The first visual component is whether what we see is real, as in using real actors, sets and props, or is animated or indeed a hybrid of these two things. This is often dictated by the themes, style or genre of the film and of course whether it is a fictional piece like a film would be, or a factual programme like a documentary which would use real footage with little simulation of anything to preserve the reality. Factually documentaries do have some editing techniques however to make them more interesting and revealing of the action to the viewer, for example in nature documentaries scenes are slowed down to only a few frames per second to show us in great detail what's happening so we can fully take it in. Other than this nothing much is added to a documentary style visual, or augmented for our entertainment as the key is to be educational and true to life. Here's a clip from a BBC nature documentary exhibiting the slow motion for purposes of explanation, with serious and factual narration adding to the overall formality in informative style of the piece. The slow motion in this clip is to show a predator stalking pray, and is useful for us to fully understand the predatory technique. This occurs at 1.20 into the clip, and Attenborough provides insightful and factual narration throughout, befitting the style.
Planet Earth Clip
Contrasting visual techniques are to be found in entertainment films, which allow for more creativity, and augmentation of reality due to their allowance to be fictitious and outlandish. This is often put to use in scenes of animation rather than using real actors and sets, as it means far more unattainable things can be achieved, for example strange coloured landscapes, bizarre characters of strange and inhuman appearance, and personifying animals, giving them human voices and character traits. This is shown well in this random acts episode, where Jarvis Cocker voices the sun in the sky, which could only be done in a fictional, and light hearted animated piece, and the characters are animals larger than real life, in odd colours as is the landscape around them. This exhibits the endless possibility of animation, and that it's unrestricted in ways real acting and film is.
Random Acts no.505 clip
There are also film examples which show a hybrid of real acting, with animation utilised in the story to represent distant events happening from the characters, which are integral to the story but don't necessarily have to be real to have the desired effect or tell us the information we need to know. This is well used in the film Bunny & The Bull, and some of it's many advantages are that it doesn't cost as much as staging and recording the footage would with actors and sets and can be taken in any direction with no realistic restriction meaning it can stray into a psychedelic area, which can also be very appealing to viewers as it presents an escapism from real life which is nice to experience in a film. This clip shows a good use of real actors, and animated visual components. In the clip the two actors are acting in front of green screen. Behind them is a seemingly hand drawn and coloured backdrop of a restaurant interior, which adds a surrealism to the scene, but rather than just being a still backdrop, animated cars and cyclists are visible moving past the window, adding to the combination of real and unreal elements working parallel to each in the same film.
Bunny & The Bull clip
This could just be viewed as a lazy way to save money for the production of the film, but I think it's a nice technique, serving as a constant reminder of the theme of the story and the character traits of the main character who is fundamentally scared of the real world, so in this case the animated elements to me make total sense. Compared however to big budget films like Star Wars for example, where anything surreal is created using as much real acting, visuals, props and costumes and props as possible it may not be as good as this is for convincing us of the possible reality of the far fetched story, despite this not always being a film intention, it does make for an interesting contrast.
Also films can use surreal footage and varying camera shots to convey the experience of a character and show their emotions and thoughts in metaphorical sense. In this clip from Trainspotting where the protagonist is being weened off heroin, his hallucinations are represented by strange happenings in his room, like baby's crawling on the ceiling, and his friends appearing in his bed with him. The camera angles vary from up at ceiling hight and wide angled to show the hole room and the character as a small portion of this, and then zooming right up into his face with a shaky camera showing his pain, and representing his bodies reaction to not having the drugs he's become addicted to. The tv clips he see's of gameshows answering questions related to heroin addiction, and the people appearing in his room in prison outfits for example, act as visual metaphors for what he's thinking and considering, like the consequences of his addiction being shown with the threat of inprisonment and potential contraction of disease. We realise these things from different camera angles, one as if we're the main character looking out at what he'd be seeing, putting us in his shoes, and then on the character himself so we as outsiders see his circumstances as onlookers, so experience many sides of the story from camera angles and visual metaphors alone. Here's the Trainspotting clip displaying all of this.
Trainspotting clip
There are also film examples which show a hybrid of real acting, with animation utilised in the story to represent distant events happening from the characters, which are integral to the story but don't necessarily have to be real to have the desired effect or tell us the information we need to know. This is well used in the film Bunny & The Bull, and some of it's many advantages are that it doesn't cost as much as staging and recording the footage would with actors and sets and can be taken in any direction with no realistic restriction meaning it can stray into a psychedelic area, which can also be very appealing to viewers as it presents an escapism from real life which is nice to experience in a film. This clip shows a good use of real actors, and animated visual components. In the clip the two actors are acting in front of green screen. Behind them is a seemingly hand drawn and coloured backdrop of a restaurant interior, which adds a surrealism to the scene, but rather than just being a still backdrop, animated cars and cyclists are visible moving past the window, adding to the combination of real and unreal elements working parallel to each in the same film.
Bunny & The Bull clip
This could just be viewed as a lazy way to save money for the production of the film, but I think it's a nice technique, serving as a constant reminder of the theme of the story and the character traits of the main character who is fundamentally scared of the real world, so in this case the animated elements to me make total sense. Compared however to big budget films like Star Wars for example, where anything surreal is created using as much real acting, visuals, props and costumes and props as possible it may not be as good as this is for convincing us of the possible reality of the far fetched story, despite this not always being a film intention, it does make for an interesting contrast.
Also films can use surreal footage and varying camera shots to convey the experience of a character and show their emotions and thoughts in metaphorical sense. In this clip from Trainspotting where the protagonist is being weened off heroin, his hallucinations are represented by strange happenings in his room, like baby's crawling on the ceiling, and his friends appearing in his bed with him. The camera angles vary from up at ceiling hight and wide angled to show the hole room and the character as a small portion of this, and then zooming right up into his face with a shaky camera showing his pain, and representing his bodies reaction to not having the drugs he's become addicted to. The tv clips he see's of gameshows answering questions related to heroin addiction, and the people appearing in his room in prison outfits for example, act as visual metaphors for what he's thinking and considering, like the consequences of his addiction being shown with the threat of inprisonment and potential contraction of disease. We realise these things from different camera angles, one as if we're the main character looking out at what he'd be seeing, putting us in his shoes, and then on the character himself so we as outsiders see his circumstances as onlookers, so experience many sides of the story from camera angles and visual metaphors alone. Here's the Trainspotting clip displaying all of this.
Trainspotting clip
Another common visual technique to add style and momentum to a visual sequence is editing between scenes, which can be done creatively to completely alter how we watch what's on screen. Examples of this could be a simple transition from one scene to the next where an object or person passing the view causes the transition, which is called a sweep. These are common in action films or action parodies like Hot Fuzz which I used a clip from earlier, and these fast cuts keep us constantly on edge and ready to see what's going to happen. This would be a rather subtle use of the technique, but it can be taken much further to create a scene that begins to trick your brain into trying to follow two scene simultaneously, when they're being layered one over the other in very quick succession which creates a strange, psychedelic effect, which I've seen best put to use in the clip from A Field in England which I linked for the sound earlier, but will link again for the editing use of this psychedelic scene. This technique occurs 3.10 into the clip, and from there to the end of the clip.
A Field in England clip
A Field in England clip
Finally an visual technique to comment on is how credits, and other necessary visual information is incorporated in the visuals we see. In older pictures the credits would often introduce the film, with a clip playing behind them which dropped you into the story, without you loosing too much information if you don't pay great attention to the scene. This is used in the Italian Job title sequence, where behind the cast list we see from the point of view of the driver of an expensive sports car, driving through the mountains on winding roads, giving us a great entry point to the story and a visual and mental stimulation with the inherent excitement of this as if we were doing it ourselves. The wide angle alpine shots also are a nice introduction to the film as they're visually stunning, but set the scene for us without the need of any dialogue or cue.
Italian Job clip
Italian Job clip
Structural Components
The overall structure of the film comprises heavily of the visual and audible elements, especially the visual editing and cutting which dictates the flow and progression of the film, but it also is important to remember how the film can be deconstructed and used for say the purposes of advertising the film, and how it can be suggested to follow a certain story arc when it's intact quite different, but still entice a potential viewer to watch it. The recent trailer for Godzilla used this greatly, as it took clips from the full film, and fed is information bit by bit, never at first revealing the Godzilla creature, but as we expect from the title it's showing us the hysteria caused by it, and teasing at showing us the creature then holding back to leave us with suspense, and dying to see more. Trailers require clever structural choice, so not to spoil anything we don't want to know before watching the film, but giving us enough information to be hooked on the storyline. This particular trailer harnesses audio and visual elements to set the theme of it from the off. The first sound we hear is a combined wind and deep sub bass, which sound perilous and epic, then the first diegetic voice we hear is of officials debating what appears to be the epidemic, and then we see some shots of destruction, from the hight of helicopters, but also out the window of a house giving us the domestic perspective that we may experience if we saw this unravelling from our own homes. Then the atmosphere's are introduced, foley effects of helicopters, dramatic destructive explosions and sounds of tidal waves or tsunami's all being cause by Godzilla, but we still don't see a full shot of Godzilla. The music intensifies with a baritone male ensemble, making an even more intense sound, but then as the trailer draws to a close and we've seen the consequence of what Godzilla is doing, we still don't see the creature in full, which leaves us needing that final piece of the puzzle we can only obtain by paying the watch the full film. This is a great example of harnessing structure to entice us into wanting to watch a film, using things that shock us, or evoke any sort of emotion inside us, as creating an emotional tie with something it what makes us want to see something the most. Below is the link to the trailer, exhibiting all these things.
Godzilla trailer
The overall structure of the film comprises heavily of the visual and audible elements, especially the visual editing and cutting which dictates the flow and progression of the film, but it also is important to remember how the film can be deconstructed and used for say the purposes of advertising the film, and how it can be suggested to follow a certain story arc when it's intact quite different, but still entice a potential viewer to watch it. The recent trailer for Godzilla used this greatly, as it took clips from the full film, and fed is information bit by bit, never at first revealing the Godzilla creature, but as we expect from the title it's showing us the hysteria caused by it, and teasing at showing us the creature then holding back to leave us with suspense, and dying to see more. Trailers require clever structural choice, so not to spoil anything we don't want to know before watching the film, but giving us enough information to be hooked on the storyline. This particular trailer harnesses audio and visual elements to set the theme of it from the off. The first sound we hear is a combined wind and deep sub bass, which sound perilous and epic, then the first diegetic voice we hear is of officials debating what appears to be the epidemic, and then we see some shots of destruction, from the hight of helicopters, but also out the window of a house giving us the domestic perspective that we may experience if we saw this unravelling from our own homes. Then the atmosphere's are introduced, foley effects of helicopters, dramatic destructive explosions and sounds of tidal waves or tsunami's all being cause by Godzilla, but we still don't see a full shot of Godzilla. The music intensifies with a baritone male ensemble, making an even more intense sound, but then as the trailer draws to a close and we've seen the consequence of what Godzilla is doing, we still don't see the creature in full, which leaves us needing that final piece of the puzzle we can only obtain by paying the watch the full film. This is a great example of harnessing structure to entice us into wanting to watch a film, using things that shock us, or evoke any sort of emotion inside us, as creating an emotional tie with something it what makes us want to see something the most. Below is the link to the trailer, exhibiting all these things.
Godzilla trailer
In conclusion each component is integral to the finished product, and neuter is sufficient by itself. Without sound the visuals lack impact, and without visual the sounds aren't for any purpose, and we don't get the story from them alone. Structure ties these two things by creating a coherent narrative or structure to a piece, leaving space for us the make our interpretations when necessary, and ensuring we see all we need to see to think we've worked out everything we need to.
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