Silk Boy Post Mortem #2
One thing that became clear while working on Silkboy was that melody and the function of a scene are intertwined.
Some scenes are more important than others in a movie: some scenes are big, important, flashy scenes, while others are transitory, functional scenes that take you from point A to point B so that the story makes sense.
Both of course are important and part of storytelling, and very often the skill of actors and directors shine the brightest in making those functional scenes become interesting and alive and not simply functional.
Since Silkboy was animated, that meant wall to wall music, and I had to navigate these¬†transitional¬†scenes musically. For advice I turned to the master of themes, John Williams, especially the Harry Potter and Indiana Jones films, both of which had a similar musical approach to the score I was writing.
The bottom line is this:
Giving a big thematic moment to a transitional scene goes against the grain. It is better to write transitional music instead, e.g.: a bridge in a song, or an episode in a fugue or invention.
The transition scene can use secondary musical material, development of main material or simply a sequence (a musical one) or something that leads to the next scene. It is a case where musical structure again supports film structure!