5 questions with Jude Hodgson Hann
In the latest edition of 5 questions, we catch up with the voice behind Misery the cat
Welcome back to 5 questions, a series of Q&As with the cast and crew of Local Files Club releases. We've already heard from Greta Clarkson, star of Ms. Shipton's Travelling Tea Shop, and today we're checking in with Jude Hodgson Hann.
Today's the day, by the way: Ms. Shipton's Travelling Tea Shop, the first release from Local Files Club and the latest audio fiction creation from Skadi's Symphony, is out in the world! You can go buy a copy on Bandcamp right now and instantly receive the full five-part audiodrama, commentary tracks, original soundtrack, 8-page illustrated zine, and a bonus poem read by Jude Hodgson Hann as Misery the cat.
Jude's pawprints—er, sorry, fingerprints—are all over Ms. Shipton. In addition to playing Misery, you'll hear his sound design mastery in the clatter of tea cups, the whistle of a kettle, and the slurp of a brew, amongst other sputters and clanks. And long-time Skadi's Symphony followers will recognize his sound design work on Kane and Feels and his voice as the narrator.
How would you describe yourself to a stranger at a party?
I'm a pretty big nerd who loves all types of games. I'm a sound designer by trade and I love horror, sci-fi, and a list of music that's too long to get into... unless you're interested?
How do you organize your files?
When I can be bothered to... fairly litigiously. Underscores are your friend.
What was the first audiodrama you fell in love with?
The radio series of The Hitchhikers Guide to the Galaxy. I listened to the primary and secondary phases to death until I realised there were more by the incredible Dirk Maggs. Then proceeded to rinse those as well. Don't Panic!
Describe your favorite sound effect.
The horn from The Lighthouse by Robert Eggers. It's such a haunting, oppressive, and expressive drone, and the way it charges up just tickles the brain in the best way. That or the computer loading sound from Aliens. Analogue forever!
What’s the best piece of audio-fiction-making advice you’ve ever received?
To ouroboros myself, it would have to be a lecture given by Dirk Maggs at my university in Bournemouth. He spoke about approaching sound as if it were a film. Which sounds innocuous, but it changed the way I approached the medium. Thinking about things texturally, blocking scenes to figure out the spatial elements, and not being afraid to push the envelope and think big with your sound design.
Want to stay abreast of everything Jude is working on? Give him a follow on Instagram!