“White Tiger Legend”
This is the definition of passion! Of never giving up and being true to your vision.
“White Tiger Legend” is an animated fantasy kung fu adventure from the CGI artist Kory Juul.
Kory has worked on such films as “Avatar”, “The Matrix” and “The Hobbit”. He has travelled the world to put this film together from a story that has been in him for many years. It’s really inspiring what he has done.
This is a film I would love to see and especially to score. I have seen the film as an animatic, and let me tell you, it’s a great story and it’s the perfect film for the kind of score like the ones that made us fall in love with film scores to begin with; huge, colourful, heart-pounding and thematic. With the independence of going the Indiegogo way, this is possible. And I have in me to knock this out of the park and make this a great film score.
I have been in touch with Kory for a number of years now, been witness to his incredible journey to make this dream become a reality, and he’s been a real inspiration to me. Check out the video link below, you’ll see.
There’s some nearly complete footage, a bunch of animatics,but as I said, you will the amazing steps Kory has taken so far, the travels and effort, as well as a cameo from a bald guy you might know.
Anyway,hope you’ll chip in because you’ll get a KILLER score out of it, I promise you that!
Any leader”s goal should be to get the best out of his team, for each of them to perform to the best of their abilities to achieve the highest quality and most profitable end result.
Composition requires a high amount of cognitive clarity, we can agree on that. So check out this quote.
“Research by the US military has shown that losing just one hour of sleep per night for a week will cause a level of cognitive degradation equivalent to a .10 blood alcohol level. Worse: most people who’ve fallen into this state typically have no idea of just how impaired they are. It’s only when you look at the dramatically lower quality of their output that it shows up. ” Link
It’s common for composers to be given such schedules that they end up with very little sleep for extended periods. So how much better quality creative material could we deliver with more generous music production schedules?
I personally want to give 100% to the project I am on for two simple reasons:
1) it’s best for the film and for my relationship with the film makers
2) it represents me better for future work and for those who listen
So scheduling sleep is part of the equation, simple as that.
Got a few spots open for private composition students over Skype. You can find out more on this page here.
As most of you know, I was orchestrator and conductor on “Elysium” which came out a few weeks ago. I had a great time conducting at Abbey Road and I’ll be sharing with you a few notes I made from my time on the podium.
ELYSIUM NOTE #1
The indication “Tr.1/2″ could be interpreted as either half-step/semitone trill or only half the section doing a trill and the other half ord.
It is clearer and more universal to write accidentals with the trill sign like so.
Or if many notes are performed using trills in succession, to use “S.T. Trill” (semitone in UK and half step in North America), or “trill s.t.” instead of 1/2.
Using “1/2″ which we read as “half” is really just for North America since we say “half step” and note “semitone”.
So if you are headed to Abbey Road, remember: semitone.
I will be in Los Angeles on the 23rd to take part in a panel on the making of the Elysium score. It’s called “Bringing the Elysium score to life: tips from the team.”
Tickets are on sale so if you are around and available, drop by!
[/frame]I have heard this many times “you are so lucky to have your music played by live musicians. That is my dream.”
During the recording of the score for “Primary”, my friend Brian Campbell ( recording engineer) said he understood why composers use samples rather than live players: perfect intonation, no microphone bleed, no noises from chairs, clothes, breathing, papers or noisy instruments etc…I will tell you now, luck has nothing to do with it.
Using live musicians is a lot more work. And costs money. And takes more time.
Low budget productions don’t even consider live players these days. When I offered it for “Primary” the answer was “really? We would love to but there is no money.” I explained the costs and options and it became a possibility. The director was on board and we made it happen we what we had. Same exact scenario on “Comforting Skin.”
But it wasn’t luck.
- I found viable options to make it happen in terms of players, engineer and studio space. I have built some great contacts here over the years, so it’s possible.
- I sold the idea to the producer and he found a bit of extra money that I could budget with. The point is that most film makers want live music, it adds to the film; live is production value that goes on the screen.
- It was low budget so I did all writing, orchestrating, part and score prep. So that was a ton of work that meant I had to work twice as much.
- Using live musicians on a low budget means a lot of careful planning because of fewer options. More things to keep track and more can go wrong.
- The reality is that using live musicians I sacrificed time and money. I could have kept more of the money and had less work.
The other argument against live musician is a tight post production schedule, which happens a lot. I had to deliver an entire feature film score in a month, which is not the shortest schedule ever, but pretty short when doing it on your own. It broke down like this.
- Week 1: sketches and concepts for the score. Discuss with director and find direction. Choose instrumentation and start making phone calls.
- Week 2-3: Write the score. Send mockups and get approved.
- Week 4: Orchestrate. Score and part prep. Send MIDI/tempo map and time stamped pre-records to mixer to prep ProTools. (Note: I also had some orchestration work on a major feature during this time, so it was very busy and I had to pace myself well to make it all fit.)
- Record score.
- Week 5: edit and mix. Deliver.
The bottom line is: You want live musicians? I know I do. So do it.
For me, having been writing for real musicians for so long, I can’t stand being limited by samples. I don’t want to write down to samples. There are many moments while recording “Primary” that it was clear why live was vastly superior to samples.
While I was in the studio, listening to my expressive cello lines and tender clarinet tunes coming to life through great players, all the hard work was worth it. I did feel lucky then.
PS: A side benefit of stubbornly using live musicians on my own scores is that it led directly to my gig orchestrating on “Elysium” and “Ender’s Game”.
I am sure others have done this before, but it was the first time for me and it made me wonder why I had never thought of it.
It came out of necessity: I had three weeks to write about 45 minutes of score, with mockups, approved, orchestrated and parts ready for recording 10 musicians on the 25th. Since it is low budget and I’m on my own, that’s a lot of work and the writing had to go very fast with a high amount of clarity and control in order to get the best results possible.
One of the problems when writing is keeping track of the form. Even on a single piece of music (as opposed to multiple cues on a film) it’s easy to get so familiar with your material that you forget that your main tune has only been heard twice for example even though you have heard hundreds of times already. Soon you start diverging from it, complicating things until it becomes an randon-sounding, unmemorable mess.
On the other hand, because I was going so fast, I was cautious of over-using the melodic materials.
So in order to avoid either scenario, I kept track of my melodic ideas/sections on my working cue sheet using the typical letters of form: A, B, C, etc… which I combined with colour coding.
This was so SIMPLE and yet SO effective. It gave me this bird’s eye view of the score and an instant perspective that made sure I always knew where I was.
Here’s what it looked like…
CUE | THEMATIC
1M3 | A (suspense var.)
1M5 | A
1M7 | B – Andrea motive only, not whole tune
1M9 | C (epic tune mf)
1M11 | B – w/pno. ostinato
(these are just two columns of the spreadsheet cue list. I also colour coded the themes on the spreadsheet. Other columns included in, out, timecode position, notes, check-boxes for a variety of production stages.)
And so on…
Such a simple thing, but very effective and a big help.
Being a film composer requires some technical know-how that’s for sure, and don’t wait to learn this on the job with huge deadlines. Make sure you learn ahead of time.
I have just completed composition work on a local feature and this is what I am doing now as I prepare for the recording sessions and mix.
- Preparing the MIDI and audio tracks for the recording engineer. I am doing a once over of the MIDI tracks to make sure I have the performance I want from each of them.
- Cleaning up the MIDI to import into Finale. You need to know what will translate well and most clearly into the notation software, and that means seeing the sequencer’s piano roll as notation and not caring about the actual music result.
- Have a solid system to keep track of your progress. My spreadsheet has colums for demo/approved/cleaned/mixer/score/parts/delivered and I add and removed columns as needed. I also use colour coding to keep track of everything, very easy to do and see at a glance. Much better than crosses and noughts, for examples.
- Preparing scores and parts in Finale.
Right now I am hugely pressed for time and just thought I would take two minutes to post this. If you are not fast at any of these steps and don’t have a system in place to keep track of your work, don’t wait.
Now back to work.
I am sure you have heard someone say that in film scoring, silence can be more effective than music.
While this is true, it only represents part of the picture to consider.
It’s all about CONTRAST.
If you have a dramatic moment and there is a lot of score before and after, then silence can be very effective because it provides contrast. That silence would not be as effective if there was silence leading up to it and following it.
Pacing of a score has a lot to do with how one manipulates contrast.
Contrast relies on juxtaposition, or elements being next to each other, in case of music cues (or lack thereof) they must follow or precede one another.
I was thinking of this because I have reached an important point in the film I am scoring, and leading up to it the music has had elements of “moto perpetuo” – you know; a constant rhythmic idea as events are put into motion.
I had planned to use this melodic and rhythmic material during this scene but it didn’t play well. I spent the afternoon and part of the evening on it yesterday and had to stop. It wasn’t working. I hate days like that.
After some time laying in bed thinking about it this morning, it occurred to me that for many story reasons I won’t discuss, contrast was necessary. Contrast of instrumentation, tempo and that ostinato element being dropped. I came down to work and it’s working great.
And there you, the word of the days is: contrast.
I am currently scoring a dialogue-heavy film and I am earning my stripes, I’ll tell you that!
As preparation and continued inspiration I have been watching films with lots of dialogue.
I started off with “American Beauty”. I’ll do a post on that one at some point since I wrote down every single cue and timing/duration to get a sense of the ratio of non-scored scenes to scored scenes to scenes with source music (the source music is very well used in this film.)
With “American Beauty” I noticed a few things. The music material is all related (Dorian and Mixolydian) but doesn’t repeat much, so no theme really stands out to the casual listener, just this fantastic mood. Very loooong notes abound during dialogue with short piano interjections. It works amazingly well, so it was a great lesson for me that long notes can be great.
“Mermaids” is a film I really enjoy, with a perfectly cast Cher and Winona Ryder. Very sparse score, much less music than in “American Beauty”. Music is kept for transitions and the more dramatic scenes towards the end of the film. This one was a great lesson in score pacing and letting scenes work on their own. Lots of source music here that is part of the story and mood of the film. Of course this is a dramatic comedy and much less moody than “American Beauty” and the following film I watched; “Presumed Innocent.”
“Presumed Innocent” scored by John Williams. This one has a main music pattern that represents Harrison Ford’s obsession and is repeated constantly. I saw this a week ago and I still remember it. The main theme has a few sections which are used exclusively throughout the film. The film has a lot of moody, introspective shots that seemed to be designed to have music. Only a few scenes in the film, including the final revelation, do not use that main theme – which makes complete sense in terms of the storytelling. This one was a great study in using limited material with a strong sense of story structure… and also writing a memorable score. (And Raul Julia was an impressive presence in that film!) Also, I don’t remember there being any source music in this one.
Yesterday I watched “Primal Fear”. This score by James Newton Howard was all over the place. The first cue of the film (which is not the first piece of music heard) I thought would be the theme but I didn’t hear it again through the film. And I must admit I did not understand some of the musical choices for the underscore, but the choices for the source music made complete sense and worked great (Mozart’s “Requiem”). The lesson here was this: we can over-think our scores and in the end perhaps it’s more about mood than a great over-riding concept and musical arc. Because this film was well received and put Edward Norton on the map! And personally I enjoyed the film and the music’s lack of homogeneity and central musical theme didn’t not bother me when I watched it way back when. Of course, watching the film now it feels quite dated in story-telling, acting, visual style and music, but that’s another story…
“I’ve only just recently started reading your blog and website, and have been hooked since. It is such a valuable resource to a young aspiring composer/orchestrator like myself.
I am very interested by your studio setup, as it is very much built around pen and paper, and just had a question or two that I was hoping you could answer. What are those great big boards over both pianos, where you put your sheets? Are they home made, or can one buy something similar? Also, do you use the keyboard hooked up to the computer to the same extent as the real piano?
I’m just wondering because I have a piano, but want to invest in a keyboard to input into Sibelius quicker, and help with composing. Do you think a small 2 – 4 octave keyboard would suffice for this?
I would be extremely grateful if you had a spare moment to lend me some advice.
Hi Niall, thanks for writing and for accepting that I answer on the blog instead of privately.
The boards I built myself and they are both very simple. I am not a handy man in any way, which I’ll blame on being brought up by a single mother.
For the board on the piano I simply bought a board and got it cut the dimensions I wanted, and then added a rounded wooden piece to hold the paper which was hammered in using finishing nails. Simple. And the board just rests on the piano and the wall and it works great.
What you don’t see in this picture is that where the cello is I have now added a drafting table.
The board on the workstation desk is the same idea, but it is not meant to write on, just to read, so it is propped up on a metal mesh book holder. I put a little Ikea halogen lamp underneath the lower shelf to light up with a warm light. Over the piano I am using a natural light fluorescent and I like that a lot.
The other question is if I use the MIDI controller keyboard as much as the main piano? The answer is yes, but I find I have a different mindset when I sit at one or the other. The MIDI controller is hooked up to a sequencer of course, so I will make use of samples more, whereas at the piano I will use my inner ear more and that often leads to better music. And when working on the drafting table of course it’s even more internal. I do freely jump from one to the other during the course of composition to make use of the different mindsets and the advantages to all three writing ‘stations’.
Get an 88 key keyboard. No doubt. I lived for years using a smaller keyboard for sequencing and I think now what an idiot I was to not have invested into an 88 key controller earlier. I first had the M-Audio 88es and enjoyed it very much (until it died) and it is not expensive, so no reason to suffer needlessly.
Hope that helps.
If anyone else has any questions don’t hesitate to ask.
Here are some random thoughts as I score my current feature.
I just scored an important dialogue scene that takes place over the phone at the start of the film where the inciting event takes place. Here are some things I was conscious of while writing.
- Know the mood. In this case; questioning, unsure, dark, moody.
- Pace the film, this was the start of the film so I made sure the music was appropriate for this point of the story.
- Important story beats and structure of the scene, music is a big help for that. For this scene it was about building to the inciting event/ that moment of decision that gets the story under-way, and making sure the music is part of it.
- Using thematic/motivic elements that will come back later as this story element develops. This requires planning so don’t jump the gun and start writing too soon, get your material first.
- Don’t over-plan either, at some point you need to just go and start writing.
- Don’t be afraid of re-writing. Leave time for this if you can, because it can lead to great things by giving you perspective. Scripts aren’t done in first drafts.
- Plan your tempo carefully. I adjusted the tempo at the end of this cue at least half a dozen times until it was spot on.
- Good dialogue writing can blend in the background, that’s perfectly fine. When the music fits so well that it ‘disappears’ then you did great.
- Good dialogue music doesn’t need to be invisible either. You can play melody as people talk and it’s fine. It’s more than fine actually, it’s great. It depends on what is happening with the characters and the part of the story you are in. It’s all relative.
[/frame]On an unrelated note, I have a new piece called “Rift” being premiered by the Vancouver Metropolitan Orchestra this coming Friday.
It’s a brutal short piece (ca. 5’00”) for chamber orchestra. Very intense and, well, brutal. To give you a sense of it, it starts with the timpani playing solo with the indication “Like war drums. Fill the hall.” Should be fun!!!
This is done in a general way through the use of melody. I find that for the most part using traditional formal structures and tunes that play over scenes (as opposed to shifting along with cuts and actions) tends to be perfectly suited for creating a sense of introduction or conclusion.
Tone is also very important. This is hard to explain and will vary for every film, but an example would be to get a storytelling feel or tone to the music. You know what I mean.
A great example of music being integral to the feeling of conclusion is the ending of Raiders 3.
I started the clip a little bit early to lead to the start of the conclusion. The obvious start of the ending is when the Raider’s theme begins. It starts once Sean Connery has said his last, insightful line and gives that little look. The music comes in with the B section of the theme which is great as it saves the primary theme when Indy takes off after Marcus and the dialogue is done. Awesome.
All through this scene the melody plays right through the dialogue. This is not underscore that hits important words and pauses, it’s a melodic conclusion to the film.
But what about the music for when they come out Petra, where the Grail was kept? The melody there is the family theme for Indy and his father. Is that giving us a feeling of conclusion to the film? It is also very melodic and plays right through.
And what about earlier as they run through falling rocks to make their way out to safety. The music plays the Grail theme. Is that part of the ending since it is melodic and not actually following the action?
I originally thought that it was when they exited Petra and Indy and Henry had a little talk about illumination that the conclusion music began. But now, I think perhaps it actually starts as they look at the knight and Indy says “come on dad”.
Two fancy words you may or may not know.
Diegetic: source music and sound that is being generated by actions on screen, like actors singing or a band playing in the background.