Perhaps the most defining aspect of the Paul Watson documentary is the distinctive way in which he constructs multiple narratives during the post production process. His vibrant use of sound and creative approach to editing are key components of how he is able structure these complex patterns of interlinking narrative threads in to an overall commentary on his chosen subject. Rain in my Heart (2006) is one of Paul’s most successful texts, it tackles one of the most problematic and challenging subjects in contemporary society, alcoholism, and is, at times, as disturbing as it is compelling. One of the prominent features within this text is the use of sound, in particular, the repetition and overlaying of multiple soundtracks. As we know, the technological development of sound in cinema marked a decline in the prevalence of Formalist film criticism during the early twentieth century. As a result, formalist theories relating to sound design are scarcely few, however, one major formative theoretician, Bela Balazs, suggested from a very early stage in the development of film sound “when isolated detail-sounds will be collated again in purposeful order by sound montage, then will sound have become a new art” (Balazs cited in Dudley, 1976, p89). If we take this definition and now apply this to the opening two and half minutes to the clip from Rain in my Heart (2006) featured below, we see a striking example of how early formalist theories of sound design and, indeed, the wider relationship between a films multiple forms manifest themselves in contemporary practice.