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FILM MUSIC

A film score is the background music in a film, generally specially written for the film and often used to heighten emotions provoked by the imagery on the screen or by the dialogue.

A film score is the music in a film , generally written for the film and often used to heighten emotions provoked by the imagery on the screen or by the dialogue .

In many instances, film scores are performed by orchestras , which vary in size from a small chamber ensemble to a large ensemble, sometimes including a choir.

The orchestra is either a studio orchestra made up of contracted musicians such as the Hollywood Studio Symphony or a performing orchestra such as the London Symphony Orchestra. However, TV , video games, and films with even smaller budgets, often utilize sampling technology to re-create the sound of an orchestra.

This is generally much cheaper, although most film-makers try to avoid this.

Some films use popular music as the primary musical component, but an orchestral score is more often preferred. An orchestral score can be much more closely adapted to a film while popular music is most often based upon a strong and repetitive rhythm that is inflexible and cannot be easily adapted to a scene.

Popular genres of music also tend to date quickly as styles rapidly evolve while orchestral music tends to age much more gracefully. Instead, popular music may be included for special occasions where more attention must be diverted to the music. In these cases, songs are usually not written specifically for the film (see soundtrack).

Usually, after the film has been shot (or has completed some shooting), the composer is shown an unpolished "rough cut" of the film (or of the scenes partially finished), and talks to the director about what sort of music (styles, themes, etc.) should be used — this process is called "spotting." More rarely, the director will talk to the composer before starting shooting, as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score.

Sometimes the director will have edited the film using "temp (temporary) music": already published pieces that are similar to what the director wants.

Most film composers strongly dislike temp music, as directors often become accustomed to it and push the composers to be imitators rather than creators. On certain occasions, directors have become so attached to the temp score that they decided to use it and reject the score custom-made by a composer.

One of the most famous cases is Stanley Kubrick 's A Space Odyssey , where Kubrick opted for existing recordings of classical works rather than the score by Alex North , which eventually led to a law suit by composer György Ligeti when he was surprised to see his compositions in a motion film.

Once a composer has the film, they will then work on creating the score. While some composers prefer to work with traditional paper scores, many film composers write in a computer-based environment.

This allows the composer and orchestrator to create MIDI-based demos of themes and cues, called MIDI mockups , for review by the filmmaker prior to the final orchestral recording. Some films are then re-edited to better fit the music. Instances of this include the collaborations between filmmaker Godfrey Reggio and composer Philip Glass , where over several years the score and film are edited multiple times to better suit each other. Arguably the most successful instances of these are the associations between Sergio Leone and Ennio Morricone .

In the finale of The Good, the Bad and the Ugly , Morricone had prepared the score used before and Leone edited the scenes to match it. His other two famous films, Once Upon a Time in the West and Once Upon a Time in America , were completely edited to Morricone's score as the composer had prepared it months before the film's production.

Another example is the famous "flying" scene in Steven Spielberg 's E.T. the Extra-Terrestrial . The score, composed by long-time collaborator John Williams , proved so difficult to synchronize in this specific scene during the recording sessions that, as recounted in a companion documentary on the DVD, Spielberg gave Williams a blank check and asked him to record the cue without picture, freely; Spielberg then re-edited the scene later on to perfectly match the music.

 

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