davidmolina
New Member
I'm currently working on my first feature film and I've noticed the director and I have somewhat differing interpretations of what mood any given piece of music communicates. So this obviously presents a problem when composing a cue. When he wants tragedy, I feel the piece I just wrote is tragic but he doesn't perceive it so tragic. It doesn't happen in every single cue, but it has happened several times.
For example, he's using Time from Inception in the temp where he wants tension and gradually rising tension. I can hear some tension in Time but to me it's always been more about tragedy and grandness than tension.
I've realized there are probably 2 issues going on here: 1) Different interpretations based on different experiences. 2) My lack of theory knowledge, or harmonic tools to accurately and quickly compose the specific mood he needs, instead of nailing it after 3-4 tries.
So my questions for you film composers is:
For example, he's using Time from Inception in the temp where he wants tension and gradually rising tension. I can hear some tension in Time but to me it's always been more about tragedy and grandness than tension.
I've realized there are probably 2 issues going on here: 1) Different interpretations based on different experiences. 2) My lack of theory knowledge, or harmonic tools to accurately and quickly compose the specific mood he needs, instead of nailing it after 3-4 tries.
So my questions for you film composers is:
- How do you tackle working with a director and trying to understand and interpret what he wants with music?
- Can you share any theory/harmonic tools or tricks you use to quickly and effectively create moods (especially moods like sadness, tragedy, tension, and ominous. These are terms he's thrown out a lot during for film).
- Are there any modes, scales, intervals that you reach for to get specific moods?