In our first Q&A episode, we open up Twitter, Facebook, and a hangout on Google+ to hear what’s on your mind about writing, producing, “politiking”, and navigating the business.Read More →
What to do when your organizable musical structure relies on a moving visual target.Read More →
There are 12 tones, and only so much you can do. Right, James Horner?Read More →
“Motivation” is a strange thing. Be careful how you answer this one: We are certainly aware of the risk involved in even putting this question out there—we are inviting a deluge of the token “writing music is who I am” comments. Honestly, though, if you lost everyone and everything in your life tomorrow, we’d bet money that the least important “treasure” would be all of the shows you’ve worked on.
With that in perspective…. What is your greatest motivator?Read More →
Part 2 of Deane’s provoking series on “lazy writing”.Read More →
It’s time for a new feature around here that we will be calling “Open Forum Friday”. Every Friday morning, we’ll post a question that relates to the business of audio post-production. You log into the COMMENTS section below each post and give us and the rest of the SCO community your perspective on the matter. Today, we’re kicking it off with something that anyone who’s ever been on a deadline should find very helpful…Read More →
My goal in starting this website and podcast has always been to make our professional film music community “smaller” as we naturally grow “larger”. Over the past year, our website has undergone many alterations and we’ve experimented with various ways to communicate and interact as a community. Some of these methods have worked and some [...]Read More →
Spotting is the art of putting the music in the right place in the film and it an intrinsic part of being a good film composer. Spotting is about many things, such as mood and tone and musical style, but an often overlooked aspect is form.
The music you put and don’t put in a film will affect the pacing of the film, its architecture. For you to do this well demands a solid understanding of story, screen writing, film’s unique visual language and the brains and experience to apply that knowledge to the unique film you are working on.
More… after the jump!Read More →
It’s no secret that 2009 was a slow year for a ton of people. Coming off the slump that the world economy has been in for the last two years, for many facets of the entertainment biz, things couldn’t get much worse. As we’ve wrapped up this last year, I have heard numerous sighs of [...]Read More →
Here’s something I thought would be an interesting exercise for us all. It’s something that I have been asking myself lately, as I navigate through my latest score project, and it’s something that I think you have to regularly ask yourself in order to stay fresh, although we probably don’t ask it enough. It’s a [...]Read More →
Berklee film scoring professor and composer Sheldon Mirowitz (Outside Providence, Missing in America) says, “There are two parts to creating. One is exploring and the other is culling. If you confuse them, then you won’t get anywhere. Mick Goodrick once said to me, ‘When you swim, there is stroking and then there’s gliding. And if [...]Read More →