Just had my first successful meeting with the director of “The Performance”. Ideas hit the mark and now it’s time to get the actual writing of the cues underway. And I just thought of all the different things I do during those initial days of building a concept for a film score.
Seeing what’s there in my mind already, always the starting point. I do this multiple times a day after a break, a bit of silence.
Reacting to the surface elements – my first impulses to the story and the images.
Foraging & Collecting: my ideas, others, words, thoughts, concepts, anything.
Finding models – musical and films
Interpreting…the story, the director’s ideas, my own ideas etc…
Breaking down the story, understanding it 110%, bringing it down to the essence, for which I often collect key words and sentences
Figuring out the role of the music in the story, what could it add, how can it help and not just be redundant.
Juxtaposing – I love that word and it could mean anything. This time I am juxtaposing my three themes.
Collecting ideas and collecting sounds – as a I build a binder filled with ideas and my DAW template.
Seeing different angles – digging deeper to make sure
Finding structure and function in the score so I know what my music should aim to do
Deciding how many themes and musical ideas I should use for the genre/type of film it is
Spot the film, looking not only the ins and outs of music but for structure, symmetry, repetition, development, arc
Spot the film again, once the themes start to form, see where they fit and spot the film again
Review, rewrite, look at different angles
Sketch, mockups, improvise, be open, let it happen, think it through
Over-thinking is good – it is like asking a question…and you need questions in order to find answers
Take frequent breaks – nothing set in stone. Go with the flow to retain high amounts of focus.
Don’t get excited about any one idea until the next day
Play with the image, play away from the image
There is no one order I can put these things in, you need to flow with the process, so I wrote them down, things I do and things I tell myself as working. I didn’t go into very big detail, but it’s important that things that guide you should never bind you either, and if you are too strict in your descriptions of steps you take it may backfire.
So over the years I got to know what works for me and have a pretty good handle on my process at this point which allows me to flow with the demands of the picture and achieve a good momentum and reach my best ideas.
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This is the definition of passion! Of never giving up and being true to your vision.
“White Tiger Legend” is an animated fantasy kung fu adventure from the CGI artist Kory Juul.
Kory has worked on such films as “Avatar”, “The Matrix” and “The Hobbit”. He has travelled the world to put this film together from a story that has been in him for many years. It’s really inspiring what he has done.
This is a film I would love to see and especially to score. I have seen the film as an animatic, and let me tell you, it’s a great story and it’s the perfect film for the kind of score like the ones that made us fall in love with film scores to begin with; huge, colourful, heart-pounding and thematic. With the independence of going the Indiegogo way, this is possible. And I have in me to knock this out of the park and make this a great film score.
I have been in touch with Kory for a number of years now, been witness to his incredible journey to make this dream become a reality, and he’s been a real inspiration to me. Check out the video link below, you’ll see.
There’s some nearly complete footage, a bunch of animatics,but as I said, you will the amazing steps Kory has taken so far, the travels and effort, as well as a cameo from a bald guy you might know.
Anyway,hope you’ll chip in because you’ll get a KILLER score out of it, I promise you that!
I am currently working on the Vancouver film “Primary” directed by the talented Ross Ferguson.
Composition started in earnest about two weeks ago and is going very well. The director and I are really in synch and the music is coming along nicely, contributing to the tone and story in a way that feels very satisfying.
I should be done in the next few days to then tackle any rewrites, adjustments, orchestration and score prep. in time for the mix in early August.
I have been blogging about film music issues and thoughts related to the work I am doing on “Primary” on my blog “Getting the Score.” Check it out!
This coming Friday May 24th will be the premiere of my new piece “Rift” by the Vancouver Metropolitan Orchestra.
It’s a brutal short piece (ca. 5’00”) for chamber orchestra. Very intense and, well, brutal. This is me returning to what I loved to do and probably do best. To give you a sense of it, it starts with the timpani playing solo with the indication “Like war drums. Fill the hall.” So I am looking forward to it and I hope the orchestra does well with it.
”Comforting Skin” has been picked up by Anchor Bay Entertainment and is getting released on DVD May 21st.
I composed the score for this film using a chamber group enhanced with sparse use of samples and electronics. The score is dark and makes much use of dissonance and extended techniques but is also very melodically driven.
I was asked by the Screen Composers Guild of Canada to present an orchestration seminar a few Saturdays back, with the focus being my work on “Elysium” and writing for strings and brass. The participants would then write some music for a recording session that would happen two weeks later. In the time between the seminar and the recording sessions it was my job to spend some time with the participants (usually over Skype) and take a look at their scores to make sure all was ready to go and perhaps offer some suggestions.
This last Friday and Saturday were the recording sessions over at Vancouver’s famed Warehouse Studios, where I was sitting in the booth supervising, producing and guiding the composers as they each had 25 minutes to record their pieces. On Friday was the string quartet and Saturday a near orchestral sizes brass ensemble.
The whole process, from seminar to recording, was very enjoyable and positive and the Guild was generous enough to offer me one session with the brass. So I wrote some short sketches for brass and had a great time conducting a group of very talented musicians.
My thanks to the Guild for this great experience, and thanks to David Ramos for the pictures!