3 posts tagged “film music”
Blogged by Cal State graduate music student and EXPO attendee, Leni Thio...
[Panel Moderator: Shawn LeMone of ASCAP; Panelists: Shawn Clement, Joel C. High, HeathCliff Rothman, Penelope Spheeris. Film Your Issue is an annual film competition that challenges young filmmakers to submit 30 to 60 second films on topical issues. EXPO registrants were invited to submit their own original score to any of five short films chosen from FYI submissions.]
How does a musical score change the emotion of a film? Well, if you are wondering about how music can be an effective means of enhancing the feeling and mood of the film, the “Film You Issue” discussion at the ASCAP “I Create Music” EXPO probably would be interesting and challenging for you. Each of five short films was screened with three different original musical scores.
The first short film was “Children’s World.” The score by Ernest Adzentoivich was the best one I think. It has somehow scary and mysterious in the beginning, but then ends with childlike and happy music when the child in the film found his teddy bear. The musical twist at the end of the film is very effective. The other two score approaches were nice too.
The second film “Depression.” This is a difficult one to score. Three scores were written by Brian Wilbun, Robert Safir, and Greg Rogers. Again, they were all great but very different. Panelist Penelope Spheeris liked Robert Safir’s approach. She said she did feel a little “depressed” watching the film!
During the fifteen minutes of discussion with the panelists before the session ended, there was a tense moment between members of the audience as they were debating the different musical approaches to the films. The panelists commented that the audience was so into the music. HAHA - I agree!!!!
As composers, we might often wonder about which music works best to with a picture, whether it is better to use temp track or not, right? “TRUST YOUR HEART” is probably the best solution. That’s the most valuable advice I got from the panelists today. ^^ TRUST YOUR HEART~ TRUST YOUR HEART~ TRUST YOUR HEART ~
Blogged by Cal State graduate music student and EXPO attendee, Ince Kosasih...
[Panel Moderator: Dan Kimpel - Panelists: Jeff Cardoni, Michael Levine, Blake Neely, David Vanacore]
The panel was really cool. It wasn't too crowded, probably around 50-60 people. Surprisingly, there were not too many youngsters. I saw a bit of grey hair (no offense J) and many songwriters - which surprised me too. It kinda got me thinking "Oh well, here are all the people that up and coming composers will face in the TV industry - not just fellow young composers but also older experienced guys and songwriters!!"
The panel started with one of the most asked questions in the industry: How did your career start?
David who sat at the far right mentioned that he used to work with Mike Post, and his career pretty much started when he worked with Mike on one of his TV shows (I believe this was what he said, can't remember now...). Mike told him all would be well if he didn't get a call back from the producer. If you don't hear back from them, that means you've done a good job, when you hear from them, you'll probably get fired (some good laughs from the audience). His credits now include TV hits “Survivor,” “Nanny 911,” “The Apprentice” and “Trading Spouses.”
Blake said that he has been an orchestrator for a long time before he landed on TV shows. Some of his credits are TV’s “Brothers & Sisters” and in Film, “Starter for Ten,” “The Wedding Date” and “First Daughter.”
Jeff said that he was struggling in the beginning when he first moved to LA. He took a temp job at TV station so that he could know people in the industry. When he moved to Santa Monica, he met his neighbor who was a music supervisor. They became good friend since then! His credits include TV “CSI: Miami,” “30 Days” and in Film, “Just Friends” and “Firehouse Dog.”
Michael had been doing music in the advertising world in NY for many years before he moved to LA and started writing for TV and Films. That career really took off when he had a gig playing fiddle and Hans Zimmer walked into the studio. Michael gave him his demo CD that he put together when he was in LA and unemployed. Hans Zimmer left a voice message on Michael's answering machine saying "It's ****ing brilliant!" He then recommended him for “Cold Case.”
Some amazing stories, huh?
David mentioned that he sent demo to every agent in town but was rejected. He shared a story that a person from one agency (he didn't want to mention the name) faxed him a 2-sentence letter saying "It's a bad demo". After “Survivor” became a big hit, he sent the SAME demo to the same agents and his phone didn't stop ringing! It was just 6 months apart, btw. Ironically, that same agent called him saying they loved his music. He told the agent that he sent a demo 6 months ago. The agent asked, "What did I say about it?" He told the agent that he'd fax back the letter sent to him! (LOL) Given that experience, he said it's important not to get too hung up on negative feedback and just follow your dreams.
The panelists also advised that a composer has to be patient and write as many pilots as possible, even for free, because they could lead to 4-5 years TV show.
The panel wrapped up with Q & A session for 15 minutes. The questions varied from music supervision to gadgets.
It was an informative panel session with some good laughs. Everyone sure left with a smile and feeling educated!
It was a great time at ASCAP’s 22nd Annual Film & Television Music Awards, held Tuesday night, April 17, at the Kodak Theatre. The night included a star-studded tribute to multi-talented film and television composer, Marc Shaiman – creator of the music for the hit Broadway musical “Hairspray” which is being released soon as a major motion picture. He was awarded ASCAP’s prestigious Henry Mancini Career Achievement Award. Check out photos of the night here. [Posted by Anne]
