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Caught the pilot of ABC Family's "Chloe King." I put some music up for this and was considered as composer for the show, but never made it past the initial round. Watching it now, though, I'm not so sorry I didn't get the gig. All significant emotional character beats are covered with songs - including oddly saccharine piano and vocals while learning about her shady Ukranian past.
It seems some television shows refuse to allow score to do anything except express tension, danger, and action - there's this misplaced fear that score will be "cheesy" if used at all under truly emotional moments. Its true that a poor, or a mediocre composer, may have little to offer a genuine emotional moment - ESPECIALLY in an age of emotionally devoid synthesizers. When a good composer is on board, though, they can elevate a scene to its full potential.
Its the kind of score that you know the producers came in and said "We don't want a superhero theme. Infact we don't want any themes." But this direction is misguided from the beginning; in film, a theme can be anything from a full melody to a simple, recurring motif. Whether or not the producers "want a theme" is immaterial; there MUST be repeated material in order for the score to have cohesion, just like the main characters need to have consistent wardrobes, live in the same house from episode to episode, etc.
It's the pilot; the producers are afraid of going too far in any creative direction and alienating viewers. But I certainly hope that, musically, the composer is given more of a chance to bring emotional content to the table.
6/14/11
3/24/11
Caught a screening of "Sucker Punch" tonight. All in all, it was definitely a Zack Snyder film. Only he can come up with an excuse to fight nazi zombis, roobot warriors, and defuse nuclear bombs on a bullet train to hell all in the same movie. But at least it had a great soundtrack. Infact, the use of songs in the movie was perhaps the most innovative part. Rather than just plaster a song onto a scene Snyder took more control of the tunes and had the score composers (regulars Tyler Bates and his partner, Marius de Vries) score on top of and around the songs. In some cases, Bates remixed the songs completely, integrating a distorted, dull version of Bjork's "Army of Me" into a thunderous percussion bed that served as score for an intense action sequence.
It sort of reminded me how Brion remixed Beck's music in places in "Eternal Sunshine." If songs are going to be featured in a film, I must say that I greatly prefer this approach. It allows the movie to really "own" the song.
That all said, this is not my kind of movie. The action sequences ran too long, and I just didn't feel like I earned them as a viewer. Action doesn't move me unless it is tied to the plot...and thanks to the mechanics of the movie, the action is more of a metaphor than actual events, further bringing me "out" of the moment.
And it was so friggin loud. I must be getting old.
It sort of reminded me how Brion remixed Beck's music in places in "Eternal Sunshine." If songs are going to be featured in a film, I must say that I greatly prefer this approach. It allows the movie to really "own" the song.
That all said, this is not my kind of movie. The action sequences ran too long, and I just didn't feel like I earned them as a viewer. Action doesn't move me unless it is tied to the plot...and thanks to the mechanics of the movie, the action is more of a metaphor than actual events, further bringing me "out" of the moment.
And it was so friggin loud. I must be getting old.
1/21/11
Basic Instinct
I never thought I could truly love a Paul Verhoeven film until I saw Basic Instinct. THe use of music....the pacing. The false scares hat make you want to jump out of your seat and scream. Wonderful.
Jerry Goldsmith's score adds such a sense of dread to the film...you always think there is an ulterior motive at work, but then again, you also ask yourself whether the score's ominous tone is simply another red herring. Maybe Tremell IS innocent; maybe it WAS Garner.
The score functions very similarly to that of Seven - draping scenes with dread that's not nowhere to be found on screen. The main theme acts both as Catherine's theme as well as the murder theme, and we hear it in the opening scene. In a sense, the score gives away Catherine's guilt from scene 1, as we hear that same music with Catherine under almost every scene she's in. But, again, because the audience can never REALLY know if the score isn't just part of the fake out, that twinge of doubt remains.
The film's similarities to Seven also include the "buddy cup" duo assigned to the case (Nick and Gus). It's a convention that is also used in Chicago Overcoat. Their appearance is not underscored by any specific theme; infact Nick never gets a theme (perhaps he doesn't DESERVE a theme, always living in the shady of Catherine). It makes me wonder if the choice to write a Maloney theme in Chicago Overcoat was ill advised; I recall my instinct was to leave Maloney basically untouched musically. When Brian, the director, decided he wanted a Maloney theme, I wrote music that sounded like "cop" music - slightly brassy, marcato. But I could have taken a different approach - I could have remembered that, in it's essence, Chicago Overcoat is a suspense thriller. Buddy cops in suspense thrillers don't usually get happy endings. And they also aren't usually on the up and up - up and up enough, at least, to deserve a cop theme.
But I digress. Excellent film...I learned a lot from it.
Jerry Goldsmith's score adds such a sense of dread to the film...you always think there is an ulterior motive at work, but then again, you also ask yourself whether the score's ominous tone is simply another red herring. Maybe Tremell IS innocent; maybe it WAS Garner.
The score functions very similarly to that of Seven - draping scenes with dread that's not nowhere to be found on screen. The main theme acts both as Catherine's theme as well as the murder theme, and we hear it in the opening scene. In a sense, the score gives away Catherine's guilt from scene 1, as we hear that same music with Catherine under almost every scene she's in. But, again, because the audience can never REALLY know if the score isn't just part of the fake out, that twinge of doubt remains.
The film's similarities to Seven also include the "buddy cup" duo assigned to the case (Nick and Gus). It's a convention that is also used in Chicago Overcoat. Their appearance is not underscored by any specific theme; infact Nick never gets a theme (perhaps he doesn't DESERVE a theme, always living in the shady of Catherine). It makes me wonder if the choice to write a Maloney theme in Chicago Overcoat was ill advised; I recall my instinct was to leave Maloney basically untouched musically. When Brian, the director, decided he wanted a Maloney theme, I wrote music that sounded like "cop" music - slightly brassy, marcato. But I could have taken a different approach - I could have remembered that, in it's essence, Chicago Overcoat is a suspense thriller. Buddy cops in suspense thrillers don't usually get happy endings. And they also aren't usually on the up and up - up and up enough, at least, to deserve a cop theme.
But I digress. Excellent film...I learned a lot from it.
12/24/10
Quotes from Internet Piracy
I thought I would start posting quotes from folks on the topic of illegal downloading. It's something I am very passionate about, and I hope to make more commentary on this issue. For tonight, quote number one (in respsonse to Kid Rock's wonderfully sarcastic rant on the topic:)
if you download music you're just getting a copy at no expense to anyone. any artist who is against illegal downloading is not an artist at all they are a greedy fuck and should give their music career to someone who actually cares about music
So here I am, a commercial artist, trying to make a living off my work. I work full time writing music for film and tv. To get by, I live in a house with 6 other people. I drive a Hyundai Elantra that was recently keyed with the words "Don't Park So Close," and I can't afford to buy it a new paint job. I don't feel like a greedy fuck, personally. I feel like a guy working hard, trying to make enough to 1.) Eat and pay rent 2.) Eventually start a family. Does that mean greedy fuck? Am I not a true artist because I want to do art all the time? What do you think?
if you download music you're just getting a copy at no expense to anyone. any artist who is against illegal downloading is not an artist at all they are a greedy fuck and should give their music career to someone who actually cares about music
So here I am, a commercial artist, trying to make a living off my work. I work full time writing music for film and tv. To get by, I live in a house with 6 other people. I drive a Hyundai Elantra that was recently keyed with the words "Don't Park So Close," and I can't afford to buy it a new paint job. I don't feel like a greedy fuck, personally. I feel like a guy working hard, trying to make enough to 1.) Eat and pay rent 2.) Eventually start a family. Does that mean greedy fuck? Am I not a true artist because I want to do art all the time? What do you think?
7/22/10
A misc update...no new music yet!
So my grand plan of a free track a month/week has obviously gone by the wayside....life happens I guess! Had some great work come my way, including the following commercial series from microsoft:
So life is a little easier lately financially. Not COMPLETELY set...but comfortable for a while.
I'm also working on a few short films - The Small Assassin, by Ray Brarbury and directed by Chris Charles, as well as Sylvia's Spell, directed by Randy Caspersen. Listen to the waltz from Sylvia's Spell if you like (but it's not free, sorry!).
I'll have some free tracks posted soon... in the mean time, any requests (from my 3 followers ( : ) ?
So life is a little easier lately financially. Not COMPLETELY set...but comfortable for a while.
I'm also working on a few short films - The Small Assassin, by Ray Brarbury and directed by Chris Charles, as well as Sylvia's Spell, directed by Randy Caspersen. Listen to the waltz from Sylvia's Spell if you like (but it's not free, sorry!).
I'll have some free tracks posted soon... in the mean time, any requests (from my 3 followers ( : ) ?
3/7/10
Oscar Party, some music uses!
One of the things about a running a blog while working in the entertainment industry is that it can find hard to find the time to update! I'll try to stay more on top of that.
Just got back from an Oscar viewing party. I won the pool ( : In general I was pretty pleased with the choices. I didn't feel Crazy Heart deserved best song, though there weren't really any worthy contenders I am very pleased that Michael Giachinno's Up won; he's already deserved it several times over, and his career is just getting started.
Some noteworthy uses of music to report, specifically two comic uses of "Foresaken Gods" by my good friends Brian Kaufman and Jessica Petrus. First, a cheese commerical.
Pastoral Cheese Store
Next, a video promo for a studio of classical conducting majors at Boston's NEC:
All I want is my music to be heard ::tear::. Thank you, thank you!
Music update coming soon...
Just got back from an Oscar viewing party. I won the pool ( : In general I was pretty pleased with the choices. I didn't feel Crazy Heart deserved best song, though there weren't really any worthy contenders I am very pleased that Michael Giachinno's Up won; he's already deserved it several times over, and his career is just getting started.
Some noteworthy uses of music to report, specifically two comic uses of "Foresaken Gods" by my good friends Brian Kaufman and Jessica Petrus. First, a cheese commerical.
Pastoral Cheese Store
Next, a video promo for a studio of classical conducting majors at Boston's NEC:
All I want is my music to be heard ::tear::. Thank you, thank you!
Music update coming soon...
2/4/10
Some exciting things are happening! Some folks at a major music library took notice of my work on Smallville and Vampire Diaries, and have asked me to contribute a few tracks of Superhero / Epic music for their next CD. Its going to be a lot of fun.
This week are two more tracks from the archives...a percussive action track, and a quick little 30 second arrangement of the Charleston.
Enjoy! Please remember to always credit me and to review the terms of your free license in the music FAQ.
Track 1 - Battle for the Bridge(2:12)
Genre: Action, Superhero, Percussion
Download Zip File
Description: A percussive action track with electronic and acoustic elements, brass, and a whimsical flute solo at the end.
Track 2 - Charlie Charleston (:34)
Genre: Silent Movie, Jazz Vintage
Download Zip File
Description: A quick 30 second arrangement of the traditional Charleston dance, originally composed by James Johnson in 1923.
This week are two more tracks from the archives...a percussive action track, and a quick little 30 second arrangement of the Charleston.
Enjoy! Please remember to always credit me and to review the terms of your free license in the music FAQ.
Track 1 - Battle for the Bridge(2:12)
Genre: Action, Superhero, Percussion
Download Zip File
Description: A percussive action track with electronic and acoustic elements, brass, and a whimsical flute solo at the end.
Track 2 - Charlie Charleston (:34)
Genre: Silent Movie, Jazz Vintage
Download Zip File
Description: A quick 30 second arrangement of the traditional Charleston dance, originally composed by James Johnson in 1923.
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