Ways of thinking about – and creating – the music in your film.
A film’s soundtrack is crucial to its storytelling. As a film-maker, before you can approach commissioning, sourcing, or even creating your soundtrack, there are things to consider: the kind of music you want for your film – and why?
The Original Score
Arguably the most famous film composer, and certainly the composer of some of the best-known movie music in history, is John Williams – whose work, Musica Universalis argues, is defined by the melodic motifs at its centre:
The Temp Score
The film score is often the last part of a film to be completed, as the picture needs to be “locked” before music which syncs perfectly with the action on screen can be written, arranged, performed, and recorded. Often, during film production and post-production, already-existing, or pre-recorded, music is used as placeholder, temporary, or “temp” music. Sometimes, film-makers grow attached to the temp score, and find it difficult to later replace it with a newly-completed original score. Famously, Stanley Kubrick grew so attached to the temp score he used while cutting 2001: A Space Odyssey, that he opted to keep it, and not use the original score he’d commissioned from composer Alex North – who only discovered this when he saw the film, with an audience, at its 1968 premiere:
In the video above, Entertain The Elk notes that the significance of Kubrick’s selection, ‘Also Sprach Zarathustra’, is not only thematic but also intertextual – inspired as it was by Nietsche’s fable of the evolution of ape, to man, to superman, ideas which propel Kubrick’s film:
This highlights a reportedly common practice: composers being commissioned to echo or replicate temp score music, rather than contribute their own ideas. Every Frame a Painting demonstrates how, over the 2010s, the snake began to eat its own tail – and how, in commercial blockbuster cinema land at least, the echo chamber dumbs down any dynamicism or distinction:
The Needle Drop
A “needle drop” is when a pre-existing song – usually a well-known pop song – is used in a film’s soundtrack. Patrick Willems asks (as all film-makers should), “Why risk using an existing song that risks distracting the audience and taking them out of the moment, instead of the more traditional film score that’s way less obtrusive?” In just one hour, he seeks to define and reference a taxonomy of the uses of pop music in movies: What is the use of that song supposed to say? Who is it speaking for? Who can hear it? How thoughtful – or thoughtless – is a film’s needle drop, and where does it set the bar for how we should engage with the film? Patrick’s exploration necessarily and inevitably becomes a critique of ways popular culture creates and capitalises on what both film-makers and audiences can expect to say and mean when pop songs are included in films they were not created for:
This doesn’t refer to a genre, sound, or aesthetic, but rather to a process made possible by more current technology. Dan Golding observes that computer-based composers such as Hans Zimmer can write and perform without the need for an orchestra, can respond, rewrite and rearrange in dialogue with the director during, rather than at the end of, post-production. He argues that “the end result is music that is created for a computer to play“, whose limitations favour rhythm over melody, and which has shaped the past two decades of mainstream cinema soundtracks:
Try It Yourself
In less than 20 minutes, Mattias Holmgren introduces Film Scoring For Beginners E01 – Spotting, Tempo & Arranging: