Every. Single. Film. Producer. Ever. Comes from the visual side of storytelling.
No they don't.
Where are the audio storytellers?
Not sure, where do Spielberg, Cameron, Scott, Jackson, Nolan, Coppola and all the others, live?
Why are the people who are good at audio complacent with taking orders from someone who mostly sees visuals?
Unless we're the ones financing the films, we all have to take orders to some degree. Given the choice, I'd of course prefer to take orders from an actual filmmaker, rather than just a visuals maker.
Anybody wanna be the first? Are you an audio person who has not just technical skills but a desire to take creative control? Wanna make something great? Hit me up.
There's a couple of fairly obvious difficulties:
1. An audio person taking creative control would be a bad idea, just as bad an idea as a visuals person taking creative control. Either way, you wouldn't make something "great", you'd probably only make something mediocre. Either visual centric or audio centric, rather than "great" which is the marriage of the two.
2. Actually they wouldn't be the first, it's been done.
On the other hand: Filmmaking is all about overcoming difficulties and I like your pitch by the way. Feigning ignorance to goad an audio person into taking the bait, not sure I can remember seeing that approach before, which after more than 20 years in the biz is unusual. Just the fact that you can simultaneously think: Rationally, outside the box and in terms of film not just being a visual medium indicates real potential as a filmmaker and is therefore enticing.
A word of advice though; I wouldn't offer creative "control", maybe significant influence but not control. Let me give you an example: I'm currently working with an experienced producer who has an excellent script, a script which has already been slightly changed on my advice. A major part of the 7 figure funding has already been acquired and the rest seems very likely. When pre-pro starts I will spend many days with the producer, director and cinematographer working on the shot list. Chances are that I'll capture a few things and provide some advise during filming and then my opinion will be sought after the assembly edit. This is a collaborative role though, where I have considerable influence but not control. I know a great deal about sound and I have a lot of knowledge/experience of how sound and images can work together to create a sum better than it's parts but I don't know more (or anywhere near as much) about cinematography than an equivalently experienced cinematographer. Or about directing actors or about a range of other film crafts. Maybe I can make a shot, angle or lighting suggestion which will aid the use/marriage of sound and image but it needs a cinematographer to suggest how that can work in practice, to shoot down my suggestion if it can't work and/or to come up with a better idea and it needs a director to arbitrate and be in charge/control. Same with me and the pic editor and even the same in actual audio post, where sometimes I might not see the wood for the trees, being so intimately involved with the creation of the audio. Even to take this influential role (an actual Sound Designer) requires significant filmmaking knowledge/experience beyond just advanced technical and creative audio abilities and finding that with a tiny/no budget will be challenging in the least.
I can't guarantee the time your project will require without remuneration. So despite your approach being enticing, I will have to decline. However, I do definitely want to encourage you, both as an original thinker and as a filmmaker actually thinking about film (rather than just visuals). So PLEASE, feel free to contact me if you require any advice or even some actual physical help (some audio editing or mixing for example). If I haven't got the time to help, the worst I'll do is say "sorry I'm snowed under" but maybe I will have time to help or if not, at least hopefully make some helpful suggestion/s.
Good luck and keep us posted on your progress!
G
