Hello. Time to update some diaries of what has been happening with this project. I have been working on this on a daily/weekly basis along with other 3rd year University projects, and we will take a look at some of those things in the next few posts. We are mostly focusing on the music that ended up in the film, otherwise this blog would be endless. We had the cast and crew screening for this film on 19th of April and it went nicely. It was a proud moment to see our creation on the big screen. However, we still have a few more weeks to tweak and finalize it before it is sent to film festivals.
It wasn’t too long before the screening date, that I got a locked edit to work with. After a bonkers weekend of syncing music demos and creating new music, the first version of the score was done.
I collaborated with a bunch of amazingly talented people on this film, and they were so much fun to work with too. I will be introducing some of them here. The focus is on the music collaborations.
You will also see a lot of dBs Music Bristol. The facilities, equipment and support contributed in making this score a reality in a major way.
The nature of our collaboration with the director was quite frequent and indeed collaborative. Tom’s (director) way of doing things by bouncing off ideas within the whole film crew is really inspiring. I sent him music often so that I would label it as something related to the film, which indicates where I would have put it, but Tom could then put the music wherever he wanted in the film. Sometimes he would put it on a scene that I would have not thought of and this kept the music creation fresh and moving. At some point I got stuck a bit, and did not produce as much content as I wanted to, and Tom encouraged me to compose away from the picture. “Don’t try to rationalise it and just do music and share it”. As I am used to, and most effective, in reading the picture and thinking about the narrative and concepts, this kind of composing to 'nothing' approach required quite a different mindset. This, and Tom suggesting to share even the earliest version of a synth pattern and let the subconscious do the story telling, cultivated new material in a short time.
As one of the aims in this project was to compose something that strays away from the mainstream, having a minimal amount of examples of other films when discussing the music was helpful. Tom also did not use much temp tracks, of which I was grateful of. A blank canvas and encouragement to compose freely is basically what most of the composers want to hear, right?