By Totemworlds
Every serious filmmaker knows that in movies, what we hear is just as important as what we see. Without music, our favorite films would lose their charm and emotional weight…even our characters would lose a bit of their essence. Thankfully, film composers exist, even though they’re always hiding in their studios, and their job is to unravel all feelings in your film, documentary, you name it!
As a filmmaker, you need to find a film composer who won’t just fill in the silence, but actually support your story in a meaningful way. I have working experience as a film composer and I wrote this short guide for filmmakers and enthusiasts with key tips on how to conceptualize and articulate musical ideas with their composers. Clear and effective communication between director and composer will ensure your film is everything you want it to be, so let’s get started!
Choosing the right composer
All musicians have unique backgrounds, it’s what defines their style and how they sound. Composers are no different, so keep your options open and take your time to listen to their previous work. Find a match for the sound you think would be best for your film. What style of music would be best? Does your budget allow for an orchestral sound, a small ensemble, or piano only? If you’re on a budget, composers can create what are called Orchestral Mock-ups. They’re a significantly cheaper alternative to recording a real orchestra while still sounding convincing. But does your film need music that will stand out or play more of a supportive role? Find a composer who will be versatile enough to do both.
Communicating With Your Composer
Spotting happens when a composer and/or a director decide upon where to (and not to) put music in the film. You’ll probably want to share your ideas right away, but I highly recommend you let the composer speak first. Their experience in the area and their experience in seeing your film for the first time could lead them to bring new ideas to the table. But if they ask for temp tracks then definitely provide them.
Temp tracks are songs that directors use temporarily on their film to give composers an idea of how they want the music to sound. Most composers love them, but some don’t. Just ask.
Don’t use musical terms to describe what you want
A composer’s job is to translate emotional terms into music, so don’t try to throw in musical terms at them, instead, speak to them in emotional terms. Talk in terms of intensity, and your composer will modify the instrumentation, mixing, and dynamics to match what you want. Talk in terms of movement, and your composer can use musical techniques to keep the momentum going, or make space for quiet time. You should also be clear if you want the music to sound close or play more of a supportive role.
Why (and when) to add a musical cue
Consider the following reasons to add music at any given moment of your film:
As a narrative tool: take music into consideration right from the start, as you write the script, this opens up new and exciting possibilities. Some of the most memorable moments in cinema rely on music to work. Some examples include a 2-note motif which foreshadows the shark’s arrival in Jaws; an unmistakable tune which plays in Kill Bill every time the protagonist sees her enemies; and who can forget the string players and their last repertoire near the end of Titanic, filling our hearts with empathy towards everyone on that sinking ship.
A motif is a recurring musical phrase.
To set the mood: music is just as important as color-grading and lighting for setting specific moods. And just like a colorist or lighting expert, a film composer will use every bit of information you give them to craft the right sound for a scene. Be clear about the mood you want to convey and include all the little details that make your scene unique. Music is so versatile that composers have a HUGE array of musical devices to work with, so having a pool of information to derive ideas from would help them focus their creativity.
Here’s is a very entertaining video showing the power of music over film.
To accompany our characters: in fiction, it is common practice for composers to assign musical ideas to any character, this is called a leitmotif; think of Darth Vader’s iconic theme in Star Wars and how menacing it makes him appear. It works for non-fiction too. A news anchor, for example, is greatly benefited from the show’s epic and suspenseful opening song that legitimizes not just the show but also its host.
To simulate the passing of time: music can be used to keep the momentum going, making sure there are no stagnant moments in your film. Any scene can be made suspenseful using music alone, and more excitement is always welcome. You can also use music as a way to transition to a new scene.
In conclusion
When incorporating a composer give them space to share their ideas, but be clear about how you want the audience to experience specific characters and moments. Work with the composer to figure out how best to communicate what you want, whether that’s by sharing examples of other films or music, details about your story and characters, or describing a feeling.
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