HE’S KIND OF A STRANGE OLD HERMIT
“I think [sound design] adds so much to your storytelling,” Dave Filoni said in the “Twin Suns” audio commentary, “so I devised these cuts so that we’re going from a feeling of emptiness to very full [with] the sand and the chaos, and [then] we go back to emptiness.”
The cuts he’s speaking of are when Ezra treks out into the desert after Maul, where the sound environment consists of “a very full-sounding shot and an empty-sounding shot.”
“[T]hat’s Ezra’s mind. The chaos in his mind right now as he’s being beaten down… and again just crashing out into a feeling of emptiness. So, y’know, if Ezra was wishing for the storm to stop, well now it has and now the sun is punishing.” (Filoni, audio commentary, 12:00)
These two sound choices evoke an edge to the environment, painting it as unwelcome and harsh. This changes once Ezra wakes up to the campfire. Audibly, the environment is mellow. Not the harsh silence of the wastes or the overwhelming roar of the sandstorm. Instead, it’s a warm sound. The gentle crackle of the fire, the ambient noise of the planet’s night critters, the soft huffing of the dewback, which evokes (sorry, Zeb), the Lasat’s snores from the episode’s beginning. The sound environment is welcoming.