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.