After almost a week of dealing with my upgrade to 64 bits I was armed with a shiny new OS, loads of RAM and was off to the races yesterday on the feature film “Comforting Skin”.
I don’t have the film yet. Just read the script and saw a couple of scenes that Derek, the director, brought over just over a week ago.
Writing music without the film is always tricky, but right now this is an exploration phase. Based on the scenes I saw and my talks with Derek I had a pretty god idea of the direction for the music, so I was able to come up with many ideas (total 7) and listened to tons of stuff, mostly Gubaidulina.
I will now listen to those ideas, see if they are still good and send them to Derek. He will then react and then I will write some more. It’s really just playing around, the best first step to creativity.
Oh, actually, the first thing I did yesterday was run through most of the synth sounds I have, looking for things that fit my general idea for the score. The budget for this film is low, so it might be necessary to supplement the live instruments with samples and synths.
Still, the plan is to do a real chamber score, so it might be all live… we’ll see. But considering budget and musical direction is an important part of film scoring.
Yesterday made it official, I signed the contract and now work can begin on the feature film “Comforting Skin” written and directed by Derek Franson.
Here is the official Facebook page.
This score will be the complete opposite to Silk Boy; dark, dissonant and experimental. I can’t wait!!!
Based on the talks and few meetings I have had with Derek I am convinced that working with him will be a pleasure. Not only is he easy-going, a lover of film scores and we get along great, but he is approaching the score for this film as something integral to the story telling, not as mere sonic wallpaper.
And he wants the score to be experimental. “Experimental” can mean different things to different people, so I played some George Crumb, Lutoslwasky and Ligeti and that was really the direction he wanted. He loved the talking into the flute effects of Crumb. Amazing!
He is also very smart in his approach to dealing with me as a composer, providing a careful balance between guidance and freedom in order to create a fertile creative environment
Guidance is important because without goals you cannot aim, and freedom is also needed in order to find a unique voice to the film and allow me to take ownership of the score by putting myself into it. Because if I am just imitating and not being creative, then, what’s the point?
And also, Derek will also avoid the dreaded temp track! The plan is to develop the sound and concept of the score along with the edit and effects.
Only something great can come of this!
I will keep a diary of this project as well, like I did with “The Legend of Silk Boy”.