6/18/2023 0 Comments Tyler batesNot only did I need to get the interpersonal stuff, become familiar with the interpersonal stuff with Zack and Niven Howie, the editor, and the producers on board, Eric Newman and Mark Abraham, but I also had to write for each of the actor's voices so that I could frame their voices appropriately in the material. Luckily, it worked out that way, but I didn't know who the actors were and the character roles. I wrote a couple of cues to help me get the job. I was given in advance the script to Dawn of the Dead. For instance, you can be inspired by a script. If you want to take a risk, it certainly helps if you have an understanding of the sensibilities of those people involved.īut writing factors in in so many aspects. That's what I think gives composers a modicum of confidence when they're working Friday nights and through the weekend and they're making some executive creative decisions in the score that maybe, I guess, outside of the conventions of what might be anticipated for movies. It's really important to understand those sensibilities. We may think we're creating something that is cool, but it's not appropriate if the other people creatively invested can't identify with what we are creating musically to support the storytelling. If you're working with a new director or even just new producers, even if you've worked with a director before - a new editor, it's really important to understand the sensibilities of the people who are your creative collaborators. Even if it's all fiction, there's still research to be done. Outside of the literal task of writing music for a picture, one, you need to have research in some way on your subject matter, being the material. What do you think would surprise people most to learn about your process? Whether it be your process or just the entire concept of film scoring, because I feel like a lot of people, they might notice the effectiveness or they might love the music, but they just don't entirely know how it goes from enlisting a collaborator and working with the director and the filmmaker and the editor to actually bringing that music to completion? I do appreciate the first opportunity, though, but at the time I did that, I was still really pursuing my career in bands and also writing with other artists and producing records. It was pretty unwatchable, the movie that he had me score. ![]() I did that and the producer was Cassian Elwes, who then gave me my first crack at a feature film. I just wrote up some charts with some timing notes, just because they pointed out to me that there needed to be some timing notes and to make the tempo accordingly. I was in the studio doing an instrumental guitar record at the time with a friend. Anyway, the producer I knew gave me a call, they needed some score cues that were very rock-centric. It was - my first scoring opportunity happened on, God, what was it called? One of those, it wasn't Maniac Cop, it was something close to that. This is where I've always wanted my career to go,"? : You've had such an impressive career, you've had so many diverse projects that you've been involved with, but to go back to the beginning and when you're starting out as a musician and you are getting into these first opportunities to score films, how much of that was, "Well, I love music and this is going to pay me," versus, "Now I've got my foot in the door.
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