Structure: Foreground | Middle-ground | Background
Level of narration (implied or spoken)
Level of sound in the screen world
Under determination of sound (ambiguity)
Allowing the viewer to listen (Randy Thom)
(Literal) under dialogue
(Figurative) an emphasis on movement
TEXTURE = INSTRUMENTATION CHOICES (i.e. palette)
DENSITY = NUMBER OF INSTRUMENTS (ex: 140 piece orchestra v. single violin)
PRODUCTION = ENHANCEMENTS + EXPANSIONS (i.e. microphone choices, re-amping, outboard gear, software modifications and enhancements, etc.)
BENDING TIME USING MUSIC & SOUND
DON'T tip the story!
Choose a POV
Main titles offer an opportunity to:
Support drama without killing it:
De-emphasizing a scene can also work:
A massive cliché, maybe, but in this territory, less IS more
The sound of silence can emphasize drama:
Highlighting is important
Red Herrings v. Sabotage (i.e. overuse)
Accenting dramatic plot points needs restraint, or risk wearing out the audience.
Scoring a film like a ballet is a common comparison.
WHEN TO USE MUSIC?
The obvious: Finding the right moment/starting point/entrance IS crucial.
A successful outcome for A-list composers often boils down to their approach when considering:
Musical Cues and The Art Of Catching
FILM v. TELEVISION
Film skews orchestral and acoustic:
Determination Of Tonality:
Voicing The Picture:
Composition and creativity:
Manipulation of Time, Tempo and Pacing:
The Death Of A&R (And Rise Of The Music Supervisor):
© 2018 Couderay All Rights Reserved