A picture(song) is worth a 1000 words

Lee Plaza Ballroom - Detroit

A filmmaker will use every means at their disposal in service of the story they are telling. The great filmmaker will use the script, casting, performances, set design, lighting, costumes, camera, lenses, sets, locations, props, costumes, hair and more to manipulate and create the desired experience for the viewer. Music is just another color on the director’s palette. Great photography captures a moment in time that asks us step outside ourselves and ask: Who are those people? What are they thinking? What in the world happened? Every picture has a story behind it. Adding music provides an unseen emotional context to the experience. An original dramatic score composed for a movie heightens the suspension of disbelief required by the audience but the use of music from a different medium serves an entirely different purpose. But what about using songs or existing music from a different medium?

The power of music as a story telling tool

If we were to hear “Satisfaction” by the Rolling Stones or “Light My Fire” by The Doors or any other song from the sixties we would unconsciously remember our feelings, and knowledge of the turbulent times in which these songs were written and recorded. Using existing music leverages the viewer’s personal experiences thus providing a cultural point of reference for a filmmaker. Not all filmmakers understand this but those that do tend to make better movies.

The use of this song over that song (freely substitute existing piece of music) is a conscious decision made by the director.  Blending original score with existing music is challenging but not insurmountable if you take the time to understand why those songs were chosen and how it helps the director tell the story.   You can learn a lot about your director and the project by understanding how they went about choosing a temp score or a song.  Taking your awareness to this level will not only help you write more effective music...it will make you a better composer...and more employable.

Top Ten Myths about being a Film Composer #10

Myth #10-

"My music is a perfect fit for film"

Reality-

Music in film is not about your music, my music or anyone's music per se. The role of music in film is to help the film maker tell his/her story more effectively. Period.

Sure...if a film maker likes what you do...you may get the opportunity to work on their film.

If you get the opportunity...good for you!!! The battle is half won.

The other half is to do whatever it takes to make your boss (the director) happy. While it is gratifying to have someone flatter you about how talented you are, or how great your music is never lose sight of what the main goal is: happy customers.

Directors are not musicians. They are directors. Directors have a knack for finding ways to motivate those around them to achieve their goals/needs. Some might call it manipulation.

Directors are not your friends. The director is your boss. Treat the relationship with the appropriate respect.

Next week: #9 "All I have to do is write wonderful music and I will be a success"

Learn To Be Objective About Your Work

If you are actively engaged in creative endeavors most likely you will have a trusted circle of friends that you bounce ideas off of. This can be rewarding but tricky. While we all look to others for support, never underestimate how your relationship will impact the feedback. Learning to be objective about your work will allow you to measure your progress by yourself and not be completely reliant on the judgement of others.

1. BE CLEAR ABOUT YOUR GOAL

If you don't know where you are going....you will have no idea if you have achieved your objective or not. Define your goal in simple terms. When my friend George Gallo directs a film he creates a catchphrase to help him stay on track. Write it down. Keep it handy so you will be able to refer to it through your creative process.

2. KNOW YOUR PROCESS

Everyone approaches being creative differently. The trick is to learn about your process so that you can easily recreate it...on demand. If you look at professional athletes who are called upon to perform in high pressure situations (free throws, putting in golf, batters, pitchers etc.) you will notice that they all have a pre-shot routine. Develop your own pre-shot routine. And ...STICK TO IT.

3. FOCUS YOUR ATTENTION

Bill Clinton has said that what made Steve Jobs unique was his ability to concentrate. Being creative demands your full and undivided attention. Use your pre-shot routine to set the stage to give your work your all.

4. GET TO THE END

Ideas and indecision are the enemies of completion. Commit to an idea and FINISH. If you keep it all in your head your brilliant idea is nothing more than a marble ping-ponging in your head and...is completely worthless. You are an audience of one. The only way you can be objective about your work is to get it out of your body. Art (and creative ideas) are a snapshot of a moment in time. It will never be the same. And, you will perceive it differently every time you look at it.

5. THE ROLE OF PARTICIPANT AND OBSERVER

Now that you have completed your thought you will be able to switch your focus from being in the moment and "I'm a genius" to being an audience of the work. It is now the work....not your possession. Making this shift enables you to be objective. Some days you will be a genius...other days you will get depressed....(Why did I do THAT!!!). Adopting the role of observer will allow you to measure your progress...BEFORE you launch your work into the world.

Training yourself to be objective about your own work is an essential quality for the artist/creator. It's not as hard as it seems...if....you are willing to do the work.