I think music can be a major element of most films. I personally try to find up and coming artists who want their music heard and ask them to either donate or give us the license to use their music for an affordable fee so we get a better film and they get exposure. Its also a good way to find new talent, or to publicize the talent of people that might not normally have their music in film, people who normally just perform live or just shop their album or whatever.

making low budget dreams come true

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Originally posted by Vasic
I'm curious to find out, among those who actively participate in the filmmaking endeavour here, how do you approach music score in your films? Who does it (did it) for your films? What musical style(s) have you used / do you use?

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I. too, know that music is an essential element of a
movie. As a director I usually have little in mind when
shooting or even editing. I'm one of those rare directors
who really enjoys the collaboration with like minded
creative people. I love what a composer brings to the
table. So I usually approach the music score by allowing
the composer to do their thing.

For several films I used a composer I trusted so much
I didn't even listen to the score until it was done. I loved
the surprise. He passed away a few years ago so now I do
a full spotting session with the composers I use. But I still
give them creative control.

I use whatever creative style works for the movie.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

In one of the textbooks on writing music for film there is a passage about a film from a long ago (perhaps 50's, or 60's) which was originally finished without a musical score (on purpose). The director felt the dialogue and images were powerful and engaging enough, that the music would dilute/take away the specific quality he was aiming at. I can't remember exactly which movie was it (I'll have to look it up), but upon release, the film was universally poorly received (both audiences and critics). The film was pulled, an experienced Hollywood composer was brought in, the score was written, orchestrated, recorded and film was re-released. I believe it went on to receive an Oscar for something. Not to mention that it was a very successful re-release, both with box office, as well as critics.

In the book, the point of the story was to underscore the importance of a good musical score for the overall quality of a film. This should not be underestimated. Many experienced professionals in the film business will testify to the importance of audio (giving it greater importance than picture: audiences will forgive poorly lit scene, but poor audio will reek of home movies). Within that audio, I believe that music takes up two thirds, as far as importance is concerned.

There are great many freelance composers out there who offer their talent and skills, many just for a screen credit and nothing else (sift through pages of this forum). Many beginner filmmakers here who are just starting their first shorts often don't even consider music, or if they do, they scavenge the web for stock music, which they eventually shoehorn into their shorts. I'm sure they'll get much better results if they sought out some of these composers who are only too eager to write for screen. Chances are pretty good that the final result will be much more professional than jamming some stock music into your film.

I don't know that specific example, but we all agree music is important.
However there have been several films released without a music score
at all - some of them quite successful.

Regarding audio - also an extremely important aspect of the overall
enjoyment of a movie. I agree with you - too many beginners are all
about the camera and the audio is not even second or third on the list
of importance. Those who know the true stories of films like "Clerks"
"Blair Witch" and "El mariachi" know that hundreds of thousands were
spent on the audio before they hit the theaters. The low number we all
read about were what the filmmaker spent, not what was spent on the
films we all saw.

True. If I remember correctly, Columbia spent about $1 million on post-production work (and some advertising) for El Mariachi.

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Originally posted by Vasic

In one of the textbooks on writing music for film there is a passage about a film from a long ago (perhaps 50's, or 60's) which was originally finished without a musical score (on purpose). The director felt the dialogue and images were powerful and engaging enough, that the music would dilute/take away the specific quality he was aiming at. I can't remember exactly which movie was it (I'll have to look it up), but upon release, the film was universally poorly received (both audiences and critics). The film was pulled, an experienced Hollywood composer was brought in, the score was written, orchestrated, recorded and film was re-released. I believe it went on to receive an Oscar for something. Not to mention that it was a very successful re-release, both with box office, as well as critics.

In the book, the point of the story was to underscore the importance of a good musical score for the overall quality of a film. This should not be underestimated. Many experienced professionals in the film business will testify to the importance of audio (giving it greater importance than picture: audiences will forgive poorly lit scene, but poor audio will reek of home movies). Within that audio, I believe that music takes up two thirds, as far as importance is concerned.

There are great many freelance composers out there who offer their talent and skills, many just for a screen credit and nothing else (sift through pages of this forum). Many beginner filmmakers here who are just starting their first shorts often don't even consider music, or if they do, they scavenge the web for stock music, which they eventually shoehorn into their shorts. I'm sure they'll get much better results if they sought out some of these composers who are only too eager to write for screen. Chances are pretty good that the final result will be much more professional than jamming some stock music into your film.

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Similar thing happened with Psycho - Imagine if those violins weren't in the shower scene. If you need high quality music btw, I represent a number of composers and we can work to most budgets - www.TotalComposure.com for more information 🙂

David Healey

www.TotalComposure.com
-Music For Motion Picture

quote:

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Originally posted by Vasic

In one of the textbooks on writing music for film there is a passage about a film from a long ago (perhaps 50's, or 60's) which was originally finished without a musical score (on purpose). The director felt the dialogue and images were powerful and engaging enough, that the music would dilute/take away the specific quality he was aiming at. I can't remember exactly which movie was it (I'll have to look it up), but upon release, the film was universally poorly received (both audiences and critics). The film was pulled, an experienced Hollywood composer was brought in, the score was written, orchestrated, recorded and film was re-released. I believe it went on to receive an Oscar for something. Not to mention that it was a very successful re-release, both with box office, as well as critics.

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John Carpenter relayed a very similar experience with HALLOWEEN, which I will quote from the soundtrack notes:

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I screened the final cut, minus sound effects and music, for a young executive from 20th Century Fox...She wasn't scared at all. I then became determined to "save it with the music."

I finally saw the picture with an audience in the fall. My plan to "save it with the music" seemed to work. About six months later, I ran into the same young executive...Now she too loved the movie and all I had done was add music.

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John Carpenter is my biggest influence, when it comes to scoring/directing. I was so impressed with his array of synthesizers that I gave up on trying to find composers and built up my own array of synths.

I've listened to soundtracks, since very young. While friends were into rock music on the radio, I was playing soundtracks constantly. I've always been visually inspired (picturing scenes) by the sound of music. My approach is to write scripts with soundtracks playing in the background.

As far as style, I try to be fairly organic with the music, setting the tone, underscoring action and feeling. I never let it overpower dialogue or "compete" with certain sound effects. I try to create a signature sound or sounds for the bigger projects.

Music underlines emotions that sometimes can't be shown with closeups. Most of all, it steers the audience towards the mood intended by the filmmaker. ROCKY training scenes. Mood, mood mood, baby! ?:D?

Of course, music (like any other tool) can be overused. I actually like the sparseness of NO COUNTRY FOR OLD MEN, which is very appropriate. On the other hand, I love the marriage of say - Tangerine Dreams sounds to a western themed vampire movie like NEAR DARK. (I'll mention that in honor of Certified Instigator having crewed on one of my very favorite movies.) ?;)?

www.midnightsunent.com

Often filmmakers use too much music... look at T.V. these days... constant electronic pulses and one or two piano notes (satirized beautifully in "Forgetting Sarah Marshall") completely absent of melody. This style is leaking into the world of film, like most of the original movies made for the SyFy Channel.

Another problem is overly dramatic music covering for the lack of genuine emotional content from the writing, direction, acting or often, all three. There's also way too much reliance on samples and pre-made loops that you can buy commercially. That neat sound in LOST when the logo fades in isn't so neat when you hear it in an episode of "Bones" and realize it must have come off a sound effect collection.

Remember those behind-the-scenes moments from the making of Star Wars with the sound designers out in the field, taping metal wires and recording the sound? Why not take a string sample and run it through an amp simulator? Add some distortion... alter the sound and make something unique.

Those great, singular voices in film music are few and far between.