Re-scoring

I've been re-editing my first feature film, "The Broken Quiet", from scratch for about two or three months, now.  Since the structure of the film has completely changed, the old musical score really doesn't fit at all. I had too choices going into this -- tweak the old score or just create a new score. I opted for the latter. It's an interesting experience, scoring for something I've already edited and scored for almost two years ago (wow, that went by fast). 

I approached the last score in segments. I'd edit a sequence, then score the music for it, then edit a sequence, then score the music, and on and on. This time through, I decided early on to try a different method, perhaps the more traditional route. I locked down the rough edit (of course, there may still be changes, but it's pretty much set) before even striking a key. Now I'm scoring one long, 70-80 minute piece that has its gaps, but flows together much more like one ever mutating song instead of multiple isolated tracks.

Another of the creative decisions I've made is the lack of too many central themes or motifs, but to rather focus completely on the emotions, save for one main, title theme that makes its way into the piece here and there, sometimes subtly, sometimes at the front of it all. It used to be that I would develop multiple re-ocurring themes that helped shape ideas and thoughts behind the actions and dialogue, and take us back to them when it was time to chew on them some more. Instead, this time around, I'm simply walking through the woods, hitting the instruments that come to my mind.

The result is a more reflective, simple and yet at times foreboding score that speaks in a much greater way to the inner turmoil our characters face, yet without pouring the melodramatic overtones on thick (and without always relying on the high pitched violins to say "this is drama").

In many ways, this film could come off as an extended music video without words, as many silent moments that weren't in the film before are now present, and require some kind of musical accompaniment.

It's a fun ride, scoring a film, and it's an interesting experience doing it all over again for a piece that I've already completed.

Here's a short sample of the new score.

Music and I

I’ll be the first to tell you, I’m no musician. I’m a filmmaker, who has a great appreciation and passion for the score. I believe the soundtrack to be the backbone of the film experience. It must be understood and respected by the director, not merely put off to someone who knows how to make it “sound good”.

I was homeschooled as a child. I had plenty of opportunities to pursue musical education, but I found no interest in it. I did, however, love listening to movie soundtracks. “Raiders of the Lost Ark” would pummel me with its trumpets and timpanis as I contended with complicated algebra problems; “Star Trek”, with all its various fanfares, would inspire me to dream of the future as I studied the past.

Then, at the age of 16, always having been interested in telling stories, I discovered what it was I truly wanted to do with my life – make films. And, as I delved into the world of digital media, creating quick short films and videos, I was quickly disinterested with the notion of using music from CDs or other sources to quickly slap on a background track. I wanted something new, fresh, original, for each of my pieces. I spent many an hour searching online for free MIDI programs, and came across my first love in scoring, “Anvil Studio”. Primitive, cheap (actually, free), and limited, it nonetheless was all that I needed, in fact, more than I could handle, as I dived into writing music…when I couldn’t read it.

I won’t bore you with the details, but I quickly grew from one program to the next, always learning more about MIDI processing, scoring, and how to read the project, understanding that the music itself was already there – I just had to write it. Still, to this day, I cannot read music, and instead write by sound. Perhaps I could write faster if I took the time to learn how to read, but to be honest, I’ve come to enjoy the guessing process. And have found programs to work with my handicap.

I went from Anvil Studio coupled with a sampler called “Wingroove” to Finale Allegro, to Finale, learned how to use it with Sony Acid Pro and the full Garritan Personal Orchestra, and finally, now, have moved to a Mac platform and am utilizing the GPO with Logic Studio. 

I’m still at heart that 16 year old boy who just discovered he can make his own music for his own movies. Every time I sit down to knock out a score, I get a little thrill. I might not be the best, or a pro, or even worth anyone else’s time, but I love it. And isn’t that reason enough to do anything?

Check out various pieces of music I've written throughout the last couple of years here.