Film Music (Pocket Essential series)

Film Music (Pocket Essential series)

Language: English

Pages: 93

ISBN: 1903047633

Format: PDF / Kindle (mobi) / ePub

Pocket Essentials is a dynamic series of books that are concise, lively, and easy to read. Packed with facts as well as expert opinions, each book has all the key information you need to know about such popular topics as film, television, cult fiction, history, and more. Classical purists say it isn't "real" music, yet it regularly tops charts and plays to sell-out concert hall audiences. This book looks at such topics as who have been the most influential composers, which scores have best served a film and why, and what have been the historical, social, and technological changes that have affected the industry. From Ben Hur to Star Wars and Psycho to Scream, film music has played an essential role in such genre-defining classics.

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went to the film we were both starting o ut at th e s ame time. It felt very contemporary to hav e so mebo dy who was like me in the sens e that we knew wh at we were doin g bu t we didn’t know what we were do ing. It was new and w e were stu pid and arrogant to thin k that w e could do it. It was funny to see h im in clu bs an d then dealing with a b ig orch es tra for th e firs t time. ’ Pee Wee’s in fluence on co medy scoring was instan taneous, and is still felt today. Distancing thems elves

film before! ‘Wes taug ht me a lot about h ow to max imize th e scare po tential in ho rro r mov ies. O ne common rule is if n obod y's th ere yo u sting it, and if the killer's th ere y ou g o silent.’ Hence the musical red herring when Sy dney op en s an empty clos et’s doo r. Th is techniq ue sits in among st his co ntemporary electron ic mus ic and so ng placement. It carries through the rest of the trilog y, an d also in his scores for Mim ic (1997 ), The Faculty (1998 ), and Halloween H20

en d of the 20 th Centu ry. The sys tem is now highly relian t on the results of test screening s, where a rand om grou ping of cinemag oers is empowered to tickb ox as pects of a film into being chang ed . This o ften leads to re-sh ooting fo otage, wh ich of cou rs e means mus ical edits o r comp lete re-scoring of scenes. Worse still, it can lead to w hat’s kn own as a ‘toss ed s co re’ if too many voters con sider 79 th e mus ic uns uppo rtive. Replacement scores, nearly always by a

y the amo unt of mus ic. T he play ers th emselv es are bo oked b y an orchestra contracto r dependent on ho w many have been orchestrated fo r and who’s availab le. In Los An geles there are a large selection of sess ion p layers, whereas the UK o ften makes u se of several lon g-stand ing orch es tras (e.g. th e LSO ). With everything in place, th e last minute stage is to create the individ ual pages for p layers to fo llo w. The fu ll score is given to a cop yis t either in hand -w ritten A 3

Century romance for Kin g Hen ry II in Dia ne, and eas ier to research back groun d for th e 19th Century life of Vincent Van Gogh in Lus t Fo r Life. A ll o f these applied Ró zs a’s Golden Age thin kin g, but in the eyes of enth usias ts of the craft th ey merely pav ed th e way for what is inarguably o ne of the mos t impo rtant s co res of all time – Ben-Hu r (195 9). It is the best repres ented o f all film scores o n record (in all fo rmats ), and th at has aided its reputation en ormo

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