Major Project: Working with Composer
Role of a Composer
A composer in film is responsible for writing original music for the film they are working on. They write scores that guide the audience through scenes that require music. Be it for drama, to increase a films' emotional impact or to give atmosphere.
Composer's collaborate and discuss with the Director/s and establish where music is needed within the film during spotting sessions. They also work with the director by discussing the musical style to suit the story, the theme and purpose of the music.
With a larger budget and a longer production period, Nick and I would have had a much longer period in which we could strip the film apart to the bare essentials to decide what was needed and where. Instead, given the shorter production time, this was something I personally prepared in advance in the form of a document and discussion, detailing what I wanted and needed from the music. Through collaboration Nick and I were able to discuss what was possible and he gave his own creative perspective, of which I took into consideration.
Meeting Nick
Our Producer Wez sourced Nick through his contacts early in the Pre-Production process, along with a few other possibilities. We felt it was absolutely vital to source all of our production team members as early as possible, as to give each department the most possible time to work on their areas.
Nick is also our Promotional Material Artist as he will be creating our production company logo and poster. This of course under Wez's and my supervision.
What made us choose Nick as the role of Composer was the quality of his previous work and the his ability to quickly turn around drafts for us, giving us time to give feedback and tailor the track to the film's needs.
As Double Exposure is a Psychological Thriller, the music has to reflect this genre. This means the serious tone of the story has to be reflected in the music, as it will play a key role in building tension, moving around the narrative timeline and reflecting her emotions. If the music does not fit, the visuals on screen will not work. This is why this key area of the film is so vital to its success.
Discussions on Music
What we wanted from our music was for it to match the individual scenes with an overall feeling of a neutral atmospheric tone that could reflect Emily's sense of calm and control. This obviously changes throughout the film given the things that disrupt this and we discussed that this should be reflected through a building hum, that was to drown out the 'calm track'.
It was to be an example of a creeping sense of discomfort which should help the audience understand the mind set of Emily and how disrupted his life is when something isn't exactly right or comes to threaten it.
Discussions were not just with Nick but also with Wez and our Editor Megan. It was very important that Megan was to be kept informed of the development of the music as she could bring her own creative perspective on the music, providing her input on what could work and wouldn't. She was also kept informed of changes and developments due to her own schedule of the date of when she required the music. Megan also provided the required duration of the tracks, so they fit in length as to when they are needed within the film.
Wez scheduled meetings with Nick each week and we kept in constant contact through Email, answering any questions or queries.
Scene by Scene Breakdown
I felt that it would be helpful for Nick to get a copy of the script and a scene breakdown of exactly what was required musically in each scene. It provided him with a rough guide to what I was looking for with the music and allowed him to make a start early in the process.
This would be used until we received his first drafts in which we could provide feedback and discuss as to what best suits the film.
First Drafts & Feedback
Upon receiving the first draft it was clear more discussion was needed and a more detailed outline was required. The music itself was great but it was not fitting with the film so for this I liaised with Megan to create a Time-code breakdown of the film detailing the lengths of each track needed and the exact points we would like hums and music to come in and fade out.
I supplied this updated breakdown to Nick along with another copy of the script and also rough version of the film so far which was sitting at its longest duration. We highlighted which scenes were going to be removed or shortened within the breakdown document.
We also discussed what worked and what didn't within the drafts. A couple of the clips seemed to give off a horror theme while another felt slightly science fiction. This was something I was quick to highlight and express the need for the tone to be neutral and more atmospheric to each scenes emotion. I explain once more the genre of a psychological thriller and how the sub genre differs from a horror.
After explaining what the film required, Nick agreed with the tone and feedback I had given and went away to alter and continue working on the rest of the music.
The time code breakdown document would serve as not only a guide to our composer but also a guide for our editor as a detailed musical breakdown of the film detailing exact points in which music came in and faded out.
Time-code Breakdown & Rough Cut of Film
Below is the 'Time-code Breakdown' document that Megan and I created and sent to Nick:
Second Drafts & Feedback
After sending the document the music in the second draft was a lot closer to what we wanted than the first. While there are still areas that need to be changed and altered, the music was fitting the actions on screen and beginning to really tie together scenes.
There were a few areas where instruments were too prominent within the song. There are portions of the film that rely on the discomfort of silence and the instruments within these scenes were too noticeable, so this was something that I discussed with Nick explaining that it should feel more subtle.
We were also minor errors with timing and track duration which I pointed out. I also then listed the tracks we were yet to receive and hear, to make sure there was nothing being missed out or forgotten.
Following this meeting I sent an Email outlining the full breakdown of what was still needed and the changes required.
Finished Music
Following this the final music was sent to us, allowing us to begin adding tracks into the timeline. This allowed us to make necessary adjustments to the visuals and extra audio effects and to see the film with the accompanying music for the first time.
Upon reviews we came to the conclusion that the ending of the film had to include music that was a different tone from the rest. This was something that was brought up by our course leader which the team and I agreed with. We ran the risk of the film sounding very similar throughout, we needed the ending to be powerful so a subtle key change was required.
With the changes discussed with Nick, the film's music at the end fits more effectively and works to the tone of the film.
Collaboration
Importance of collaboration between these roles is vital. The music has to fit with the tone, style and the genre of the film. Music can make or break a film, no matter if the film is a student project or a feature.
By Nick and I collaborating early on in the production we were able to rectify issues, provide feedback and create the right music that will fit Double Exposure.
This professional collaboration allowed Nick and I to create music that would not only serve as a background track but provide emotion, tone and feeling during key moments of the film. These very moments may well have been less effective without the music. The added layer of storytelling improves the film and creates a more rounded film.
References
A composer in film is responsible for writing original music for the film they are working on. They write scores that guide the audience through scenes that require music. Be it for drama, to increase a films' emotional impact or to give atmosphere.
Composer's collaborate and discuss with the Director/s and establish where music is needed within the film during spotting sessions. They also work with the director by discussing the musical style to suit the story, the theme and purpose of the music.
With a larger budget and a longer production period, Nick and I would have had a much longer period in which we could strip the film apart to the bare essentials to decide what was needed and where. Instead, given the shorter production time, this was something I personally prepared in advance in the form of a document and discussion, detailing what I wanted and needed from the music. Through collaboration Nick and I were able to discuss what was possible and he gave his own creative perspective, of which I took into consideration.
Meeting Nick
Our Producer Wez sourced Nick through his contacts early in the Pre-Production process, along with a few other possibilities. We felt it was absolutely vital to source all of our production team members as early as possible, as to give each department the most possible time to work on their areas.
Nick is also our Promotional Material Artist as he will be creating our production company logo and poster. This of course under Wez's and my supervision.
What made us choose Nick as the role of Composer was the quality of his previous work and the his ability to quickly turn around drafts for us, giving us time to give feedback and tailor the track to the film's needs.
As Double Exposure is a Psychological Thriller, the music has to reflect this genre. This means the serious tone of the story has to be reflected in the music, as it will play a key role in building tension, moving around the narrative timeline and reflecting her emotions. If the music does not fit, the visuals on screen will not work. This is why this key area of the film is so vital to its success.
Discussions on Music
What we wanted from our music was for it to match the individual scenes with an overall feeling of a neutral atmospheric tone that could reflect Emily's sense of calm and control. This obviously changes throughout the film given the things that disrupt this and we discussed that this should be reflected through a building hum, that was to drown out the 'calm track'.
It was to be an example of a creeping sense of discomfort which should help the audience understand the mind set of Emily and how disrupted his life is when something isn't exactly right or comes to threaten it.
Discussions were not just with Nick but also with Wez and our Editor Megan. It was very important that Megan was to be kept informed of the development of the music as she could bring her own creative perspective on the music, providing her input on what could work and wouldn't. She was also kept informed of changes and developments due to her own schedule of the date of when she required the music. Megan also provided the required duration of the tracks, so they fit in length as to when they are needed within the film.
Wez scheduled meetings with Nick each week and we kept in constant contact through Email, answering any questions or queries.
Scene by Scene Breakdown
I felt that it would be helpful for Nick to get a copy of the script and a scene breakdown of exactly what was required musically in each scene. It provided him with a rough guide to what I was looking for with the music and allowed him to make a start early in the process.
This would be used until we received his first drafts in which we could provide feedback and discuss as to what best suits the film.
First Drafts & Feedback
Upon receiving the first draft it was clear more discussion was needed and a more detailed outline was required. The music itself was great but it was not fitting with the film so for this I liaised with Megan to create a Time-code breakdown of the film detailing the lengths of each track needed and the exact points we would like hums and music to come in and fade out.
I supplied this updated breakdown to Nick along with another copy of the script and also rough version of the film so far which was sitting at its longest duration. We highlighted which scenes were going to be removed or shortened within the breakdown document.
We also discussed what worked and what didn't within the drafts. A couple of the clips seemed to give off a horror theme while another felt slightly science fiction. This was something I was quick to highlight and express the need for the tone to be neutral and more atmospheric to each scenes emotion. I explain once more the genre of a psychological thriller and how the sub genre differs from a horror.
After explaining what the film required, Nick agreed with the tone and feedback I had given and went away to alter and continue working on the rest of the music.
The time code breakdown document would serve as not only a guide to our composer but also a guide for our editor as a detailed musical breakdown of the film detailing exact points in which music came in and faded out.
Time-code Breakdown & Rough Cut of Film
Below is the 'Time-code Breakdown' document that Megan and I created and sent to Nick:
Second Drafts & Feedback
After sending the document the music in the second draft was a lot closer to what we wanted than the first. While there are still areas that need to be changed and altered, the music was fitting the actions on screen and beginning to really tie together scenes.
There were a few areas where instruments were too prominent within the song. There are portions of the film that rely on the discomfort of silence and the instruments within these scenes were too noticeable, so this was something that I discussed with Nick explaining that it should feel more subtle.
We were also minor errors with timing and track duration which I pointed out. I also then listed the tracks we were yet to receive and hear, to make sure there was nothing being missed out or forgotten.
Following this meeting I sent an Email outlining the full breakdown of what was still needed and the changes required.
Finished Music
Following this the final music was sent to us, allowing us to begin adding tracks into the timeline. This allowed us to make necessary adjustments to the visuals and extra audio effects and to see the film with the accompanying music for the first time.
Upon reviews we came to the conclusion that the ending of the film had to include music that was a different tone from the rest. This was something that was brought up by our course leader which the team and I agreed with. We ran the risk of the film sounding very similar throughout, we needed the ending to be powerful so a subtle key change was required.
With the changes discussed with Nick, the film's music at the end fits more effectively and works to the tone of the film.
Collaboration
Importance of collaboration between these roles is vital. The music has to fit with the tone, style and the genre of the film. Music can make or break a film, no matter if the film is a student project or a feature.
By Nick and I collaborating early on in the production we were able to rectify issues, provide feedback and create the right music that will fit Double Exposure.
This professional collaboration allowed Nick and I to create music that would not only serve as a background track but provide emotion, tone and feeling during key moments of the film. These very moments may well have been less effective without the music. The added layer of storytelling improves the film and creates a more rounded film.
References
- A Composer's Role
- Created Documents
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