The sound layer is on the way into cinematically narrated worlds, often working unconsciously. That is why it is so powerful.
And: sound makes the picture more vivid: Does something happen far away, does it come from the side, fly over us, do we hear through a wall or reflected from a surface of water?
How present is the person who speaks? Does music happen in film because it is really played in film - or is it there to pass on an emotion that we want to convey?
Rupert's studies in musicology and comparative studies, his own recording studio - this background helps with the exchange with the sound departments like sound design, composer and mixing.
Speaking one language speeds up the processes. Where does music or sound design advance emotion, and in what form?
What are the possibilities for musicians or sound designers? What are the decisions for music structure and construction based on? How does the sonic level help to bring the film idea into best effect?
Image editing works without music. A good chance that you have a good picture rhythm, is when emotionally adapt music fits in seamlessly.
Because film is about human rhythms, something more profound than the art forms expressing this breathing. Not by coincidence the heartbeat is a popular element in sound design, equivalent to the 4/4 bass drum often found in modern music.
A good composition, hand in hand with the actions in the images and image change rhythms help to let a film breathe - and, at the right moment, take the viewer's breath away.