|
|
The relationship between the filmmaker and the composer is a
very unique one. In this article, I will give you some
hints regarding what to look for when hiring a composer:
Much of the information presented here
has been borrowed from David Bell's book that is listed as suggested
reading at the end of this article.
When to hire a composer
As soon as possible.
Just as the actors and filmmakers normally have time to think
about, discuss, research, and shape the character of the roles
to be played, the composer and director should have plenty
of time to do the same for the character of the music.
This is important so that the composer can pick up clues about
his dramatic/musical vision. The bottom line is, give
the composer as much time as possible! The more
time, the better he will be able to realize your creative
vision.
If pre score is required, such as writing
musical dance numbers, hire the composer two or three months
before shooting begins.
After the picture is locked:
- Four to six weeks is the minimum amount of time needed
to compose the score for a feature film.
- Two to three weeks for a television movie.
- One week to ten days for a one-hour episode of television.
Moral: Hiring the composer
at an early date won't cost more money, it will only result
in a better score!
What to listen for in demo tapes
In listening and sorting
through demo tapes, the main objective is to find music
that is interesting to you, even though it may be a different
style than you are looking for. In fact, it
is quite unlikely that a demo tape will have exactly
what is desired for the film. Listen for unpredictability
in the music; the composer who tosses in the occasional unusual
note or rhythm has a more unique and interesting approach.
What makes good film music? Very
noticeable music that is interesting to listen to is not
necessarily good film music. Often, when listening
to a film soundtrack album, a piece of music that sounds
uninteresting may in fact be quite exciting when it is part
of a complete audio/visual experience! Good film music
does the job - no more, no less.
When requesting demo tapes, supply the
composer with as much of the following information as possible:
- An accurate description of the film
- The mood or type of music you're seeking
- The music budget
- The time schedule
- The instrumentation (synthesized or orchestral)
- The name of preexisting scores that you feel are stylistically
appropriate for your film
Demo tapes should be audio only.
With video demo tapes, when seeing a piece of film, filmmakers
naturally focus on the writing, acting, directing, cinematography,
etc., and their reaction to these elements will no doubt color
their perception of the music.
Qualifications
What kind of qualifications
are necessary for today's film composers? With current
technology in the music field, it is possible for virtually
anyone to push a few buttons, make some sounds, and
call themselves a composer. But hearing the latest
hip sampled sounds does not guarantee that the
composer will satisfy the requirements of the film.
Film composing is a craft as much as it is an art.
Of course there are always exceptions to any rule, but
a qualified film composer should possess the following
knowledge and skills:
- Music theory
- Orchestrating and arranging
- Conducting
- Mathematics (for timings)
- Extensive musical vocabulary (styles, sounds, colors,
etc.)
- Historical knowledge (both musical and other)
Good communication skills are also
necessary. Music is abstract . Trying to convey
a preconceived idea about what the music should sound
like is the most difficult aspect of the composer/director
relationship. The common language of the filmmaker
and composer is one of emotion and drama. The best
method of communication is to tell the composer the emotion
you want the audience to feel.
Checking credits
If you're making
a feature film, don't automatically shy away from a composer
whose credits are primarily in television. The disciplines
are the same, only the budgets are different! Many
of our best film composers today are ones that started
out in television: John Williams, Jerry Goldsmith, Alan
Silvestri, and Bruce Broughton, to name a few.
Too many films resort to
safe and conservative scores. Truly daring
film music today is rare. Composers who have worked
with smaller budgets are generally more creative with
respect to working with the resources available: smaller
orchestras, smaller budgets, tighter deadlines.
These composers are flexible enough to work in many creative
and unique ways. Remember Bernard Herrmann's score
for the Twilight Zone in which he used only Bass Clarinet,
Harp and Percussion? That score was as scary as
any done with a large orchestra. It's the writing
- not the size of the orchestra!
Interviewing
Some composers have great
business acumen and are terrific salespeople, but the
best score for your film may come from the quiet, studious
composer. He may be the one who, by studying your
film and your vision in his thoughtful manner, will musically
tap into the true heart and soul of your project.
Obviously, you must feel comfortable and get along with
this person, because you will have close contact with
him for the duration of the scoring process.
Recommendations
It is very important
to get recommendations from people that you trust, from
people that either know and/or have worked with the composer
before. You want to know that the composer feels
as passionately about his art as you do about your film.
You want to know that the composer is reliable and professional.
After all, you have a lot of time and money invested in
this project.
Suggested
reading (also check out our
RESOURCES page)
Getting
the Best Score for Your Film
by composer David Bell, Silman-James Press, 1994
If you don't read this book, you are doing a disservice
to yourself and your film project. David's book is
a wealth of information, a valuable resource that clearly
defines the role of the composer, and helps the filmmaker
clearly understand the entire process from the spotting
session to the final dub.
Find it at: Amazon.com
Listening
to Movies by composer Fred Karlin, Schirmer Books,
1994
An invaluable book for the film buff and filmmaker, it describes
the process of creating a score, provides a close study
of eight famous films and their scores, includes an overview
of the evolution of film music, a list of composers and
their credits, soundtrack information, filmography and bibliography.
Find it at: Amazon.com
On
the Track (2nd Edition) by composers Fred
Karlin and Rayburn Wright, Schirmer Books, 1990
Although aimed primarily at composers, this text is excellent
as it contains dozens of interviews, comments and quotes
from famous producers, directors, and composers giving insight
into the collaborative process of creating a film score.
Find it at: Amazon.com
|
|
|
|
 |
