I've always believed that a great score doesn't compete with the visuals... it completes them.
A scene can be beautifully shot and brilliantly acted, but the right music gives it emotional direction. It tells the audience how long to hold onto a moment, when to breathe, when to hope, and when to fear. Often without them realizing why.
As a composer, my goal is never to write "beautiful music." My goal is to write music that belongs to the story. Sometimes that means a sweeping orchestral theme. Sometimes it means a single sustained note... or complete silence.
The best compliment a film score can receive is when the audience leaves the theater remembering how they felt, even if they can't recall a single cue.
For the directors and producers here:
At what stage do you usually bring your composer into the project? I find that involving music early in the storytelling process often opens up creative possibilities that aren't possible when scoring only after picture lock.
I'd love to hear your experiences.
I've always believed that a great score doesn't compete with the visuals... it completes them.
A scene can be beautifully shot and brilliantly acted, but the right music gives it emotional direction. It tells the audience how long to hold onto a moment, when to breathe, when to hope, and when to fear. Often without them realizing why.
As a composer, my goal is never to write "beautiful music." My goal is to write music that belongs to the story. Sometimes that means a sweeping orchestral theme. Sometimes it means a single sustained note... or complete silence.
The best compliment a film score can receive is when the audience leaves the theater remembering how they felt, even if they can't recall a single cue.
For the directors and producers here:
At what stage do you usually bring your composer into the project? I find that involving music early in the storytelling process often opens up creative possibilities that aren't possible when scoring only after picture lock.
