4 POST-PRODUCTION by Miriam Cutler EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT

FILM SCORING... BUT WERE AFRAID TO ASK OVER THE YEARS, MANY MOVIEMAKERS—even the most experienced— FINDING THE RIGHT COMPOSER have admitted to me that they find the film scoring process to be one WHAT ARE YOU LOOKING FOR in a compos- er? First, you want to choose someone you of the most intimidating and mysterious aspects of making movies. can relate to with ease. A composer is not They fear that they will not be able to adequately express their a human jukebox, who can read your mind ideas, which may lead to a loss of control over the film. and magically churn out the perfect music without needing to eat or sleep. Personality, So how do you, the moviemaker, overcome this fear and get working style, background and experience the best possible score? You do it by preparing thoroughly, by are all part of what composers bring to the budgeting time and money realistically, choosing the right composer table. Even if you are drawn to someone’s music, don’t underestimate the importance and developing a mutually satisfying working relationship. Doing of how you respond to one another as peo- these things will enable you to take the initiative and empower ple. If there is a good rapport and a collab- yourself from the get-go. orative spirit—in addition to great compos- ing chops—then you’re more likely to have a

someone well-known or are you willing to productive creative experience. GETTING STARTED take a chance on someone new? How big Even though developing musical ideas THE SCORING PROCESS CAN begin as soon as a part will music play in your film? Do you and scoring a film is very hard work, it you have a concept for your film. That’s a need to license any existing tunes? should be fun. Having realistic expectations, good time to start listening to music with You probably have some amount of understanding limitations and always being an ear to finding material that stimulates money in mind, but make sure it’s realistic. respectful of the composer as an artist will visuals in your mind. Imagine a scene Do your research: Talk to composers, music contribute to getting the results you want. and play different music to see how each supervisors and other moviemakers; find Maintain a mutual respect and the relation- selection makes you feel. The more you out the music budgets for films you like. ship will endure under pressure. integrate music into your own creative It’s advantageous to engage a compos- So how do you find this fabulous person? process, the more you’ll be able to hit the er’s services early on in the moviemak- Start by checking the music credits in ground running once you begin the scoring ing process. Don’t wait until you’re done comparable films that you enjoy and process, saving time and money. editing and then rush to find someone. respect. Ask other moviemakers whose The next important step when formulat- Begin discussions with potential com- work you appreciate for referrals. Call music ing your overall budget is to carefully esti- posers even before the film is shot. As supervisors or check out ads in established mate how much money you’ll need for your long as you have a rough post-production trade magazines. Be sure you distinguish soundtrack. Do you envision a synthesized schedule, you can take meetings with between musical ability and actual film score or one with a number of live musi- composers and try to get them excited scoring talent and experience. Your cians? How big a sound do you want, and about the prospect of working on your producer’s brother may be a great guitar what style—orchestral, intimate, jazzy, rock, film. They might even be willing to work player with a home studio and a day job (so world beat? Would you like to work with their schedule around yours. he’ll work cheap), but that doesn’t mean

84 MovieMaker GUIDE TO MAKING MOVIES 2006 4 POST-PRODUCTION by Miriam Cutler EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT

FILM SCORING... BUT WERE AFRAID TO ASK

THE FIRST MEETING he has the aesthetic sensibility or technical other moviemakers, not what can be writ- know-how to compose and synchronize ten for you. I RECOMMEND YOU TAKE the first meeting music to picture—let alone deliver on a If the music seems off the mark but in the composer’s studio or workspace, if fixed schedule and budget. you can’t get it out of your head, take a possible. You’ll get a better sense of who The film scoring process requires a meeting with the composer anyway. Find they are and how they work. Check out their person with many skills on top of the ability out more about this person. It may be studio gear. Does it look professional, well- to compose music. You’ll need someone that he or she has created lots of other maintained and up-to-date? Get a feel for who can organize, plan and budget for the music, possibly closer to what you’re how this person thinks. Do you like their overall project, communicate skillfully, looking to use in your own project. Don’t ideas? If you have part of your film shot? prepare scores and charts meticulously, work well with musicians, handle union Don’t expect to hear the perfect music for your film issues, produce and/or engineer the sessions, deal with changes and mix the score to the on [the sample] reel, as it will reflect work that’s technical specifications of the post house all on time—all factors way beyond “Can he or already been done, not what can be written for you. she write great music?” (Though you may want to start with that question.) JUST ASK YOURSELF: Does this music move me? After a certain composer has been rec- Does it stay with me? Does it suggest any visuals? ommended to you, or you’ve heard some- thing the person has scored, request a underestimate the value of the creative Bring it with you and see how the composer sample audio reel (and video, if you’d like). connection that might spark between you. reacts to the images. Now’s the time to Don’t expect to hear the perfect music for Just ask yourself: Does this music move discuss some of the musical ideas you’ve your film on that reel, though, as it will me? Does it stay with me? Does it suggest been exploring on your own. Play some of

ILLUSTRATION BY MARTY BRAUN reflect work that’s already been done for any visuals? your ideas to illustrate what you like. Have

GUIDE TO MAKING MOVIES 2006 MovieMaker 85 them play their own work from other films the scoring process. We’ll start with a basic can lead to a very fruitful collaboration. The or examples from their CD collection and budget, but as the score develops I may sug- working style of the composer and your bud- see if you get excited. gest that for a certain additional amount, getary constraints may be a strong determi- Emotion is the common language of we could add a particular performer or nant of who you choose to score your film artists. Unless you really know something extra instruments. This sometimes inspires Once there is footage, even before the about music, don’t talk in musical terms. If the moviemaker to raise more money. film is complete, if there are sequences you decide to work together, you’ll devel- All things are possible; they just aren’t free. that are music-driven (such as montages op your own vocabulary. What should the Additional musicians, rewrites, changes or special scenes), the sooner you start scene feel like? What should the audience after the recording sessions have occurred cutting with music, the better. While I experience? What will music bring to the and picture changes after the final music have worked with some editors who have storytelling? This kind of discussion can mix all add up. Thus, delivering a great an amazing internal rhythm and can cut move the working relationship forward. score on a limited budget requires lots of without any music, most prefer to find a If you want to know more before deciding planning, as even the smallest detour can temporary composition that inspires edit- who to hire, hold a second meeting with be expensive. Pick your priorities carefully ing and informs the scene. You can cut to any music you want, but you may want Delivering a great score on a limited budget requires the editor to consider an original piece of music from your chosen composer. In my lots of planning, as even the smallest detour can own experience, this is a fantastic way to work, if budget and schedule allow. The be expensive. PICK YOUR PRIORITIES carefully and composer may simply come up with click listen to suggestions from your composer. tracks or basic rhythms, or write a piece based on discussions you’ve had. The your potential composer in your editing and listen to suggestions from your com- director/editor lays it in and starts cut- bay. There, you can analyze scenes together poser. The better your working relationship ting, then returns it to the composer for and see how the composer relates to the with the composer, the more services you’re conforming where it goes back and forth material, your editor and other members of likely to receive within the parameters of as the film takes shape. Rather than fall- your team. the package deal. It’s also a good idea to ing in unrequited love with temp music, coordinate your composer’s activities with the moviemaker can take advantage of the TALKING BUDGET your sound people early on. This can save composer’s talents. BEFORE YOU SIGN A CONTRACT, you’ll need time and money by making sure they are SPOT ON to talk budget. Hopefully, you’ve allocated aware of how scenes are being treated and a realistic amount based on your research. prioritized by sound and/or music. NO MATTER WHERE YOU ARE in the editing Then again, you may have only a very lim- There are specific kinds of composer process, the creative work with your ited amount to work with, period. Let the agreements; which one you use will depend composer really begins with a spotting composer know early on where you stand on the composer you choose. There are session, when you watch footage together financially so that no time gets wasted on works for hire, synchronization licenses to decide where there will be music. either end. Nowadays, most indie and doc and master use licenses. I have developed During spotting, flesh out the role music budgets are “package” or “all-in” deals. This my own agreement, and probably other will play in any given scene. Is it to means the price paid includes whatever it composers have, too. But there are standard reinforce something that’s already obvious, takes for final music delivery. A savvy com- issues in all composer agreements. It is or to bring out some aspect that may poser will outline what is possible for what always a good idea to consult someone with not be clear? Do transitions need to be you’ve offered. This can vary dramatically experience before signing anything. punctuated with music? Should specific from composer to composer, based on sta- Don’t wait until the last minute to hire musical themes identify specific characters tus, experience, demand, resources and someone. It’s good to get your contracts or situations? Or is it more effective if the working style. in order as early as possible to ensure a music is ironic or humorous? Should the In general, the music package a composer composer’s availability. Even if dates change, music be grandiose and brazen, or intimate provides usually includes spotting sessions at least you’ve got the means to resolve the and internal? A percussive beat can drive (meetings with the moviemaker to decide situation. an otherwise slow scene, while a gentle where and how to use music), composi- violin passage can dramatize images by STARTING TO SCORE tion, review and approval meetings, music manipulating the sense of time. These are preparation, musicians, recording sessions OKAY, YOU’VE MADE your selection and the kinds of issues to discuss as you wind (engineer, assistant engineer as needed), have a composer on board. How and when your way through the film. the music mix (additional gear) and finally do you start working together? While spotting, consult your composer delivery of a finished music master synchro- Some composers will not begin until you about your ideas for using additional music nized to picture. A composer who has his or lock picture. Others may be willing to start (songs, source music from a radio or TV, her own studio is at an advantage, financial- earlier, when there is a full assembly. The etc.) that must be licensed. If you don’t ly, but it still costs money to run the studio, earlier the composer starts working with the have the connections or money to license a so don’t assume there is no studio expense. footage, the more work it is, as there will be particular piece, you may want to consider I usually suggest various budget possi- many rewrites as the film takes shape. But either replacing it with a score or having bilities to moviemakers as we proceed into starting to score early in the editing process the composer create a “sound alike.” This

86 MovieMaker GUIDE TO MAKING MOVIES 2006 approach can often serve a scene in the same they are hearing from the composer is only insulted. Be completely honest about your way, at a fraction of the cost. If you decide a rendering of the score. Be sure to have the opinions and remember: You have the last to license music, give yourself plenty of time composer explain his or her vision for what it say. Nothing is worse for a composer than a to research who wrote it, who controls the will become with final instrumentation. director worrying about a polite way to say copyright and publishing rights and who Meet with your composer and review something isn’t working. Out with it! In any owns the master recording. Then, try to the score regularly to be sure the music is collaboration, some of the best work can negotiate a good deal. Better yet, consult a developing in the right direction. If you result from creative tension. music supervisor who has the connections spend time with your composer during Don’t lose confidence in your composer and experience to expedite the process. I’ve these early stages of the music, even though if it takes a while to nail a particular cue. seen moviemakers go crazy at the last minute you’re incredibly busy with other aspects of It’s all part of the collaborative process— because they don’t have the rights they need post-production, it will save you time and discovering deeper levels, communicating in time to show their film at a prestigious money later. I often make changes while the about non-verbal, emotional and abstract festival or make a distribution deal. director is sitting next to me; I really enjoy things. Always bear in mind that the scoring Once I’ve been hired to produce a score, I that close collaboration and shaping of the process is not unlike the editing process; it sometimes write a piece of music without film’s score. takes time and vigilance to work the material picture and send it over to the editing room into a form that is cohesive and expressive, CREATIVE TENSION—AND RELEASE to get a reaction. Am I on the right track? while staying true to the story. During these early stages, it’s important COMPOSERS WHO WORK in film and TV The most effective way to save time and for moviemakers to stay on top of what understand that not everything they write money while getting the best score for your the composer is doing so that valuable is going to be what you want. There are so film is to be prepared and focused on the time isn’t wasted on unnecessary tangents. many nuances and complex levels on which important things from the start. Avoid the Nowadays, with midi and digital audio and film music must perform that it’s hard to be pitfalls of trying to cut corners in the wrong video, moviemakers can get a good sense of on the money with every single cue. places. If you do things right, you won’t have how the music is working with picture very Your composer may not always agree to keep doing them over. MM early on, well before any recording sessions with you about what’s working and what’s (after which changes will be more difficult not, but as a pro, he or she will work to find Miriam Cutler has scored numerous documentaries and and expensive to make). If midi instruments a way to please you. In an environment of feature films, including Lost in La Mancha, Pandemic: and loops are to be replaced by real players, mutual respect, it’s possible to discuss these Facing AIDS, Arlington Road and Bachelor Party. She can the moviemaker must understand that what sensitive matters without anyone being be reached through her Website, www.miriamcutler.com.

GUIDE TO MAKING MOVIES 2006 MovieMaker 87