"Because of all the concurrent stories going in 24 and its fast pace, it can be complicated in terms of the story, so I thought sound could help with the storytelling"
About this Quote
In a show like 24, speed is the aesthetic and confusion is the risk. Stephen Hopkins is basically admitting that the series' signature propulsive chaos needs a second set of rails: sound. The intent is practical, almost craft-brutal. If the plot is engineered to keep stacking simultaneous crises, the audience can either feel thrillingly overloaded or simply lost. Sound becomes a quiet form of editorial control, a way to choreograph attention without slowing the cut.
The subtext is a small critique of the very thing that made 24 a hit. “Concurrent stories” reads like a badge of ambition, but also an acknowledgment that the show’s structure can outrun clarity. Hopkins isn’t talking about music as mood wallpaper; he’s talking about audio as narrative grammar. A recurring motif can tell you whose storyline you’re in before a line of dialogue lands. A shift in ambience can signal geography or threat level faster than exposition. Even silence can operate like punctuation, carving a moment of legibility out of the blur.
Context matters: 24 arrived in an era when “cinematic” TV meant faster cutting, handheld urgency, and constant forward motion. With split plots and a ticking clock, you don’t always have time to orient viewers visually. Sound is the stealth tool that keeps the adrenaline high while doing the unglamorous work of wayfinding. Hopkins is describing a behind-the-scenes truth: the more a show prides itself on velocity, the more it relies on invisible systems to make that velocity readable.
The subtext is a small critique of the very thing that made 24 a hit. “Concurrent stories” reads like a badge of ambition, but also an acknowledgment that the show’s structure can outrun clarity. Hopkins isn’t talking about music as mood wallpaper; he’s talking about audio as narrative grammar. A recurring motif can tell you whose storyline you’re in before a line of dialogue lands. A shift in ambience can signal geography or threat level faster than exposition. Even silence can operate like punctuation, carving a moment of legibility out of the blur.
Context matters: 24 arrived in an era when “cinematic” TV meant faster cutting, handheld urgency, and constant forward motion. With split plots and a ticking clock, you don’t always have time to orient viewers visually. Sound is the stealth tool that keeps the adrenaline high while doing the unglamorous work of wayfinding. Hopkins is describing a behind-the-scenes truth: the more a show prides itself on velocity, the more it relies on invisible systems to make that velocity readable.
Quote Details
| Topic | Movie |
|---|
More Quotes by Stephen
Add to List
