MFG member Brent Holland has been composing music professionally for over 20
years and has had the privilege to create music for all major network broadcasting
companies in North
America including: CBS, FOX, NBC, ABC, NASA, PBS, Cox, Clear Channel, CBC, Radio Canada International,
SRC, CTV, TVA, APN, CHUM, CORUS, RDS, Global,
etc. Credits include feature films and international broadcasters. Mr.
Holland holds to his name, two Bachelors of Fine Arts, one in of them is in Music,
and the other in Theatre Design. Contact info below.
Putting
Music to Picture is a series of articles derived from my real-world-guerilla-grass-roots 22 years
of experience scoring for film, TV, docs, etc. coupled with my work in composing
for and operating a stock music library. In short, these are articles for the
rest of us who make a living everyday in the
business of the non-Hollywood world. These are not Òhow toÓ articles, but
instead, they are Òtry thisÓ articles interjected with stories and anecdotes of
my everyday experiences in the trenches.
-Starting Points–
Stop, Look and Listen
Music,
like film, is nothing more than story telling. Moreover, as with film, the creative process is abundantly
complex, and as with every story, we need a starting point.
As
a producer or director, how often have you gone through budgets, and whatever
is left over is what goes towards the music portion of the project, and then
question yourself, ÒHow integral to my project
is music anyway?Ó A good response to that question is, ÒAs important as any
other element in my project.Ó For example, what does a good actor bring to the
delivery of the lines? A great editor? DOP? Costume
designer? How do they, each in their own way, contribute to achieve your vision? Sometimes, a music score can actually save a scene from the trash can and turn it into a gem.
Overall,
what would serve the project better, a new post production
special effect thatÕs eating away the entire budget, or allocating more
attention to the music score. In the end, what
will the audience notice more, the effect or the music? ShouldnÕt the music
score be given at least some consideration and not default to last on the list?
Making decisions and
taking directions.
At
what point in the project should you start thinking about your score? The
clichŽ answer is: Òat the beginningÓ. However, in truth, youÕve probably never
found that to work in the real world. Most folks are far too engaged in the
scripting to jot down anything more than notes on the script and those ideas
about music usually stem from the music they happen to be listening to at that
moment on their iPod. More in ÒtuneÓ (pun intended) with the ÒreelÓ world, is
to starting thinking about your music score when youÕre in the process of story
boarding or in lieu of that, setting up to shoot a scene, which happens to be my
personal favorite. ThereÕs something about the ÒvibeÓ live on set when lighting
a scene and figuring out camera movements that tends to be a good time for creativity.
Take advantage of it. Your mind is already in the groove making those decisions
about mood and direction, why not music too? Either you, or someone else, make written bullet point notes of why
you are taking the direction you are with that scene. DonÕt trust it to memory;
youÕre far too weighed down with your film for that. Five lines would suffice.
Now extend it one step further and consider how music could serve to enhance
your vision of that scene.
Contrast / Big Contrast
or Little
HereÕs
an exercise for you to try out. Look at a scene in terms of contrast of light
and dark. A small amount of contrast could be represented by the shadows you
create through lighting and why. WhereÕs the focus in the scene? What needs to
be accented? WhatÕs lurking in the shadows? If thereÕs no dialogue, should the music
score carry the story? Do you need a full on symphony or just a moody drone
underneath? Maybe something in between like grand piano & strings could
serve best? As an example of high contrast, sometimes
a scene may not need music at all as the best way to convey your idea. Think of
the scene at the end of the Godfather III with Al Pacino
holding his dead daughter hysterically screaming in silence. The silence of the
scene speaks volumes. Now, I know what youÕre thinking, decisions,
decisions, decisions; which leads us to:
Research
Research
allows you to build up a knowledge base of what works in a film and what
doesnÕt work at all. HereÕs another exercise highly recommended for developing
your own sense of aesthetics towards scores. Take one of your favorite scenes of
any movie and turn the sound off. What feeling did you get? Does the scene
carry itself without benefit of music? Ok, now, turn the sound up, is there a noticeable change? Is the story carried
better with music or, like the Godfather scene mentioned above, is music really
necessary for the scene? Turn the sound down again. Can you guess why the film maker chose the music in that style and narrative for
the scene?
Now while keeping the sound off, take your iPod and play one of
your tunes over the scene. Choose a pop tune with lyrics if youÕd like. Notice
how it changes the story. If itÕs a dramatic scene, try comedy music over it
and vice versa. See what the music is doing to your understanding of viewing and
experiencing the scene. What is it about the music you have chosen that works
for you? Moreover, what doesnÕt work?
So,
you have always admired Spielberg (or not) and want to do something serious
like SchindlerÕs List. What is the music doing in
your favorite scene in SchindlerÕs List? Look at the tempo. Is it slow? Medium?
Fast? What instruments are playing? Is it a solo instrument? A drone? Why do
you think Spielberg and John Williams (composer) chose the direction they did?
Does the score Òcrowd Òthe scene or fit like a glove? Another common clichŽ is
Òthe music must serve the pictureÓ. I have never adhered to this one because
sometimes it is desirable for the music to be the focal point of a scene. Think
of Randy NewmanÕs score for The Natural. When Robert Redford tags the ball out
of the stadium and the score explodes and lifts you right out of your seat
along with the ball. Goose bump time. The story, the
artistic vision, is what must be served. Which leads us to:
The Big
Picture -Serving the whole story not just the scene.
Themes and repeating motifs can add cohesiveness to any film. A
good analogy here can be akin to costume design. A costume can really help
bring out a character. Throw a fedora on Harrison Ford and heÕs Indiana Jones.
Throw a poorly disguised German helmet on Darth Vader and the storm troopers
and they become the epitome of evil: Òthe bad guysÓ. Throughout the film these
costumes can and do change. On, off, dirty, backwards, whatever. Your music
score can accomplish the same thing. A theme can be composed specifically for a
character. For example, who do you think of when you
hear the John WilliamÕs theme for Indiana Jones? Think of the theme or Darth
Vader in Star Wars? TheyÕre both synonymous. Often, a love theme is composed
for, well, the lovers. Every time you see them you hear the theme. For example
it can be used as an ÒechoÓ when one of the lovers is thinking of the other.
The theme, like the costumes, changes over the course of the story. It can take
on a sad narrative or in the case of coming together at the end explode with
fanfare. Think of the film Robin Hood: Prince of Thieves, the part when Kevin
Costner and Maid Marion wed at the end. The love theme has been present
throughout the film in various guises but now explodes and leaves us with that
fairy tale ending. Thanks to the late Michael Kamen for
that sensational score.
Every Picture
Tells a Story, DonÕt it?
There probably seems to be an enormous amount of possibilities
presented here. Ok, now relax. ItÕs all good. Really.
Remember your first film and the one youÕre currently making now. Without
question you have grown since that first venture and have increased your
knowledge and that has translated into your skill as a film
maker. The things that you had learned you now bring to all your future
endeavors. ItÕs called experience. By thinking about your music score all you
are doing is increasing your skill set. While it may seem daunting at first,
eventually if you want to swim you have to jump in to get wet. And all that
takes a starting point.
Brent Holland
B&H
Gold Production Music Library
(705) 585-2029
the
power of music
if
there were words for it
we
wouldn't need it
Reprinted by
the Montreal Film Group with permission from Brent Holland.
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