If a documentary's story materializes during the edit (as is often the case), the rough cut can be worlds different from the final film. So, what does this mean for a composer who comes on board in the beginning? In short, a lot of work that changes — often — throughout the process. Add to that a flabbergasting number of different characters and time periods, and your composer can get a real headache.
Brave New Wild is my first feature doc, and let's just say I made all the classic rookie mistakes. Failure is the process, right?
Luckily, my composer Mark Bertuldo was willing and able to work through the process with me. We ended up with a unique score for the film that features live musicians, quirky leitmotifs, and tonal shifts, all of which fit my movie pretty damn well.
I sat down with Bertuldo to get some insight into writing cues, working with live musicians, and what worked for us (or didn’t).
from No Film School http://ift.tt/1LHUddQ
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