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If You Can’t Beat ‘Em, Join ‘Em?

When I heard that Justin Timberlake was slotted to be the composer and head music supervisor of the forthcoming film “The Devil and the Deep Blue Sea”, I shouldn’t have been surprised. Film scoring has been moving away from the classically trained John Williams types for years now. Hans Zimmer, who has apparently set the current template for film scoring with his Wagneresque brass heavy “Inception” score, was a former pop musician, as was Danny Elfman to only name two of many. Of course, there is Trent Reznor’s critically acclaimed scores for The Social Network and The Girl With the Dragon Tattoo, not to mention composing the theme to the upcoming game Call of Duty: Black Ops 2Then there’s my favorite, Jonny Greenwood, guitarist for Radiohead, who scored 2007′s “Best Picture” There Will Be Blood, one of my favorite modern scores, and more recently, the Japanese film Norwegian Wood.

Photo by Kevin Mazur/WireImage.com

However, it’s hard to imagine Timberlake invoking Pendrecki and Coates like Greenwood did, or producing some brooding ambient soundscapes ala Reznor. As talented an individual as he is, I was pleasantly surprised to see he had writing credits on all of the tracks on his debut LP. It’s hard to imagine what direction he’ll go musically, and I suppose we’ll just have to wait to hear the final product (and hopefully not on pop radio).

Popular artists getting into film scoring used to make me nervous in a certain way. Let’s face it, the film composer market is overly saturated, especially when you take into account how few composers get a shot at scoring movies people will actually see. Ultimately, however, popular artists are not creating more competition for film scoring. All they are doing is slightly increasing the small number of composers who are asked to score popular films. Now, instead of one of maybe eight composers picked to score every big budget film, the group widens to 10 or 12.

This leads to bigger questions about the the integrity of the film score and so forth, but I’m sure someone more qualified has an opinion on that. As an aspiring composer though, it should make you reassess your approach to getting “discovered”.

Why “MIDI” Isn’t a Bad Thing

Public understanding of the term “MIDI” hasn’t progressed as far as the technology has in the last few years, and that’s a blessing and a curse. I, for one, got heavily into composing when I realized how realistic-sounding some of these new programs were, and the illusion of having used real instruments is a very important element of my work. At the same time, though, I think a little further information on what exactly you’re hearing only makes the total package that much more spectacular. 

What most excited me about advances in MIDI technology was the ability to finally be able to get realistic sounds out of orchestral samples. Most modern libraries contain samples that are performed by some of today’s top musicians at some of the finest studios, stages, and halls in the world. The amount of recorded detail is remarkable, and the fact you can alter things like mic placement is truly astounding. Throw in some high quality reverb, and you have a set of sounds that, when used correctly, will make even the most seasoned aficionado think they’re listening to a real orchestra. While these sample libraries do come at a hefty price, the things they enable a composer to do are well worth the cost.

It doesn’t stop with orchestral samples, of course. You’d be hard pressed not to find a high quality sample library either built around or including a specific set of instruments that’s professionally recorded, and exhaustively performed to include every realism-adding detail. With this in mind, it continually pays as a composer to look outside the box, and find the smaller companies that are on the cutting edge.

So, the next time you hear “MIDI” hopefully your mind won’t go directly to Nintendo theme songs or ringtones. You’d be surprised how much music you hear, specifically on television, is MIDI derived, and the technology is only getting better. However, it is important to remember that these sounds are just tools. The art is found in knowing how to use them.

Here is a Stink Bug, common to Maryland, on my M-Audio Axiom 25

Here is a Stink Bug, common to Maryland, on my M-Audio Axiom 25

 

Films I Scored: ‘Lars’


Poster for the award-winning short film LARSLars
, a short film I scored in 2010, was a unique situation for me in many ways. First of all, I got the gig through good ol’ fashioned networking, as the film’s writer and director Manuela Rossi was a colleague of the guy who directed a prior short film I scored (Boxing Will). It is also the only film I’ve ever scored where the music I provided was accepted exactly as is, with no rewrites or reworking needed. Even as someone new to the film scoring game, I knew this was a rare scenario. Lastly, it was the only film I’ve scored so far where I’ve confined the arrangements to one specific set of instruments, in this case that of a string quartet (with the exception of the solo piano theme and outro reprise).

I think I decided on the string quartet instrumentation because the film, to me, is extremely claustrophobic. The subject matter and locales seem very stifling and rigid. The versatility of the string quartet was great in that the instruments can provide such a wide range of timbres and dynamics, be it a quiet sense of helplessness, to a violently rhythmic ostinato, while adding a classic feel. A large musical inspiration for me was Schubert’s Winterreise, which I felt was congruent with the feel of the film,  and was also somewhat culturally relevant. Lars

Another great thing about Lars was that Manuela really stuck with the film, and got it in a lot of festivals, including the 2011 Cannes Film Festival in France. I’m sure everyone involved with the film appreciates her hard work, and wishes her luck in the future! She is currently back in Europe, working in the film industry, and has an excellent blog, too!

Last, but not least, you can view the film in its entirety here (English subtitles, 18:12 run time). Selections from my score can be heard here. Please let me know what you think!

 

Free Royalty Free Music: How Serious Are You About Your Project?

Get Royalty Free Music from ProgressNotes

According to Google, over 120,000 people search for “free royalty free music” A MONTH. I know, I know, everyone wants something for free, and when forced to decide between what’s free and what isn’t, they’ll normally choose the free one in many cases. While that’s perfectly understandable at times, I, however, do not understand the allure of free royalty free music for use in productions. As discussed in a prior blog entry, the value that music brings to your production, large or small, should not be overlooked or squandered. Music is unfortunately often pushed off until the end of a production when the budget is all but exhausted, but that doesn’t mean you can’t be selective in what you choose. Take a step back and reexamine the situation.

To get the most out of music, your first consideration should be quality. You’re going to want the best music and the best production you can get within your means. Compare the free royalty free music you download to material found on AudioJungle, RevoStock, or other sites. Don’t be afraid to use your ears to determine what sounds better. Which songs are louder, fuller, more produced? Which pieces have more character or authenticity? Another consideration should be whether or not you’re OK with hundreds of thousands of other productions potentially using the exact same song you are, likely the case with most free royalty free music. Lastly, you need to determine if you can even use free royalty free music, as what I’ve found can only be used for personal or educational non-commercial productions.

So, that’s why I ask, “how serious are you about your project?” Music plays varying roles in different productions, and not everyone has the budget to hire a composer, so it’s important to consider your options to find what is best for you without cutting corners or accepting mediocrity. The response you get from your audience thanks to a great score or piece of royalty free music might be worth the relatively small amount you spent on it.

Where I Live, Why It Matters, and Why It Doesn’t

I noticed that on my website I don’t have any information about my physical location. I remember I tried to squeeze that in on an “about” page on my last website, but location plays such a small part in what I do that it wasn’t that important to me to proudly proclaim where I call home (even though, at the time, I was somewhat close to L.A.).

Be that as it may, my studio is in Silver Spring, Maryland, which is just outside of Washington, DC. Silver Spring is home to the Discovery Channel, many great Ethiopian restaurants, and an AFI Theatre for starters, and has been a pretty cool place since I’ve been here the past year.

However, thanks to modern technology, location hasn’t played a sizable role in my audio work thus far. I never met physically with the producers of many films I scored prior to actually scoring them, and phone calls and e-mails sufficed as far as communication went. Over great distances I have been able to successfully collaborate with many people on many great projects. This isn’t to say that physical interaction isn’t important. In fact, it’s preferable when possible. However, it’s not necessarily imperative in many situations I tend to find myself in.

The major component here is trust. When working with someone over a long distance, you have to be confident they are holding up their end of the bargain. This is one reason why composers who want to score big Hollywood films are expected to be there. The studio wants to keep tabs on you, and understandably so. On smaller scale or independent productions, this usually isn’t an issue.  With so many people out there eager to succeed, its important to take every opportunity available to you in earnest, wherever they may be, and make the producer glad they took the chance on you.

My point is, don’t always look at distance as a negative. The person perfect for your production might not always be the closest. I embrace the opportunity to work with people all over the world, but if you happen to be in the DC area, that’ll work, too!