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Brief Notes on “No Country for Old Men/Creeper Remix” by Eduardo Navas

Image source and video : Ebaum’s World

I recently saw No Country for Old Men, which I highly recommend, and when looking for reviews and critical analysis, I ran into No Country for Old Men/Creeper Remix in Ebaum’s World. The remix video takes the sound from one of the movie’s trailers and combines it with footage from Scooby Doo. The author/remixer, whose name does not appear in the post, explains that s/he found a resemblance between Scooby Doo’s Creeper and Javier Bardem’s character, Anton Chigurh.

No Country for Old Men/Creeper Remix exposes the importance of sound in film-making (or any other time based project), something which most viewers don’t think about once they become immersed in a film. For a remix such as this one to be successful, the viewers need to already be familiar with the film’s soundtrack; they need to recognize almost naturally Chigurh’s voice, just like they are also expected to know about Scooby Doo–at least in terms of popular culture. Scooby Doo’s footage, on the other hand, becomes supplemental, or subverted by the sound. Even if viewers don’t know about the Scooby Doo TV show and its characters, they are likely to see the Creeper’s resemblance to Bardem’s character–which is largely marked by the haircut. In this way the conventional roles of image and sound are reversed: the sound becomes the main point of reference, while the image supports the message carried by the sound. Filmmakers obviously know that there is a fine balance between image and sound to tell a good story, so this gesture is designed for popular consumption. In the end, that’s were most remixes are expected to find their audience.

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