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Motion Picture Soundtrack

When did you start composing music for films and TV?

Around 1994, I composed the music for my first short film while I was living in Puerto Rico.

Was it something that you knew you wanted to do, or did it happen gradually?

I’ve always loved film and was inspired by the music of the classic films of the 1930’s and 40’s. The progression from musician, to writing music for advertising to writing music for film seemed destine to happen, one thing lead to the next. But to answer your question, it wasn’t exactly something I knew I wanted to do.

What inspired you to start composing?

As a musician, I guess there comes a time where one feels the need to express feelings and ideas. Many of my friends were writers, so I decided to try my hand at it. I wasn’t really inspired to write in the true sense of the word until I achieved a degree of control over how to translate my experiences and feelings into music while offering a valid musical statement that would move others.

Is there an instrument that you tend to write your music on?

I write primarily using piano.

What are your influences?

This is a question with a very complex and yet, a very simple answer. Anything and everything usually has some influence on a writer’s expression as they learn to turn what they see and experience into music or art. However, specific early influences would be the great stories of the films and musicals I watched in amazement as a child: Captains Courageous, Great Expectations, Wizard of Oz, African Queen, Yankee Doodle Dandy, Singing in the Rain, West Side Story. Then, as a young musician playing drums, I was influenced by the music of the big band era: Count Basie, Stan Kenton, Kay Kyser, Buddy Rich. I admired the clever writing and clean arrangements of the Tijuana Brass, and later groups like The Beatles. Later, other significant influences were the films of Fellini, Kurosawa, Bergman. When I began to write, I was able to call upon those stories and the accompanying music, the instrumentation, and the arrangements. They continue to be an inspiration.

Where does your passion for music come from?

From the love, compassion, and the curiosity I feel for life and the living things in life: from children playing to whales calling to clouds in the sky. I hope that’s not too whimsical. I think myself to be a very passionate person.

Is there a piece of music that inspires you?

The music of Mozart inspires me most, but there are many others. Mozart’s last three symphonies #39-41, as an ensemble, since they were written within a six-week period, inspired me to express myself through writing more than anything else. His expression of the human condition found in this music ranges from profound sadness to triumphant joy.

What are your favourite styles of music to write or play?

I love playing jazz and even pop music as a drummer. As a writer, I love writing for the traditional western orchestra, the expression is incomparable and that since that instrumentation continues to work so well with film.

You have worked with a lot of people who gave you the best advice?

Whoever said to me less is more. And Bernard Herrmann, for saying that the space where you choose not to put music is perhaps more important than where do you put music.

Do you get a lot of time to listen to modern music? Any favourite artists that you have?

Sometimes. It’s tricky for me to keep up with what’s new. I’m open to any suggestions!

Favourite artists are many: Aaron Copland, Count Basie, Stevie Wonder, Annie Lennox, Pink Floyd, Michel Legrand, Ennio Morricone,  Alan Sylvestri, the list goes  on.

What music do you enjoy listening to casually?

I listen to everything I can and go through phases of listening. For the most part, I listen to classic soul, blues, big band swing, classic jazz, Beethoven, Mozart, Aaron Copland, British and American rock and pop music.

Do you have a favourite instrument?

I have several favourites: Viola d’amore, Piano, English Horn.

How does the scoring process happen for you? How do you go about making music for film? Do you work directly with the filmmakers?

I usually work directly with the filmmakers, director or producer. We use the Internet a lot these days. Either in person together, or online, we will spot the film, (watching the entire film together), we’ll analyze every scene defining the direction of the music, in and out points, and the function of each music cue within a particular scene. I will then head to the piano and begin writing the music based on what we discussed, I will then record the newly written music and send the completed music to the director as an audio file(s). They will watch the film with my new music offer feedback and make any revisions. I would then complete the revisions and send back. Make final mixes of the music. Done.

Do you have a favourite score you have written? Or a score you are particularly proud of?

One of my favourite scores was for the film, ‘All My Lenins’. The actors in the film were inspired and in turn I was inspired to create a special score.

I can imagine writing and composing music can be quite relaxing? Are there ever times when you feel you have too much to do?

I work best under a certain degree of pressure, however not too much. In my experience, sometimes ideas come quickly other times take several days. Once the main themes for a film are working, the rest is the enjoyable, the orchestration and hearing it all come together. The time to relax for me comes when the score is completed and the film is on the screen! 

After exploring your music rooms on your website, it’s clear that you have a wide range of styles and feelings. But would you say that there is a particular style that characterises your work?

I’m comfortable working with traditional western orchestral instruments, writing what may be summarized as orchestral music. However, I have a great affinity for jazz and blues folk and popular music, as well as the infinitely sonically diverse ethnic instruments from around the world. Decades of listening and having studied drums and percussion along with a love for a colourful sonic palette has allowed me to infuse into my writing some of the diverse harmonic and rhythmic qualities of music and musical styles from around the world.

Like a film director you must find your work has similar qualities, do you find it hard to create different sounds and moods?

If the film makes a strong statement, if the story and characters are strong, coming up with equally strong musical ideas can be much easier, Since I am writing and portraying a character and aspects of the story, each one unique, the music can then make equally unique statements. Determining which instruments to use in your portrayal also comes with the nature of the story and characters. A good story writes itself, it takes on a life of its own. The score follows and enhances.

How are your relationships with the director? Do you find they give you control?

The film industry is built upon relationships and trust. An experienced director hires their team after thoughtful consideration looking at past work and then call upon those who would best help in bringing the director’s vision of the story to the screen. Some directors are aware of this and the production proceeds smoothly. Others, however, are inexperienced and try to control every step of the process, accepting little to none of the input offered by the composer, production team or the actors. So the best director’s hire the right person for the job and allow them to get to the work.

You have played in jazz bands, marching bands and orchestras and you are now composing music for film. Do you have an outlet you prefer? Is composing music for film the ideal situation for you or would you prefer to be part of a touring rock band?

I love performing and I love writing.  Performing is a group activity where the interaction between players can be as transporting an experience as any other. Writing is a personal expression and when I write a piece of music that sings, the experience is uniquely gratifying.

Do you prefer using classical/ conventional instruments or do you mix in electric instruments like synthesisers and sound effects?

Both electronic and traditional instruments have their place in music. I found the important thing to remember is to use the chosen instrument within its sonic limitations, within the range of the instrument. The composer must also be knowledgeable as to the various articulations of each instrument they use in a composition and write for them accordingly.

I noticed there is a Stanley Kubrick quote on your website, famous for playing his scores whilst he was filming. Is he someone who you would have liked to have worked with?

Absolutely. He was a pioneering master of film with profound personal expression. Kubrick was the example of commitment and unswerving vision.

Speaking at Carnegie Hall must have been a special night and achievement for you. Were you nervous at all for it?

That was a great honour for me. I was somewhat nervous thinking that everyone on the stage with me was experienced speaking in public discoursing and critiquing society. Would the very select Carnegie Hall audience find what I had to say valid? However, when I somehow made the entire audience laugh with a comment on Michael Moore, the ice was broken for everyone and I started breathing again.

Do you feel satisfied when you're working on a project, or are you looking forward to the next thing?

If I’m working on a project with a good story and a director who has a vision, it’s a pleasure. I am very much a present time person and rarely look for the next thing to be any better than what’s going on at this very moment.

Have you ever considered composing music for live action like theatre productions, or even video games? There must be huge market for video games scores.

I have written music for the theatre, The Last Days of Lenny Bruce was a theatrical play and I wrote some background music in the cool era jazz style, ala Lenny.

Are there any scores that you wish you had written?

Not really. But I will say, there are so many beautiful scores I admire and use standards to which I compare all others: Umbrellas of Cherbourg, Cinema Paradiso, Doctor Zhivago, The Man Who Knew Too Much, To Kill a Mockingbird, The Good the Bad, and the Ugly, Dances with Wolves, Star Trek, Citizan Kane, just to name a very few.

If you could work with any director, who would it be?

Martin Scorsese. He is a music historian with an innate ability to incorporate music into his films.

 Looking ahead just a bit, what are some of your plans for the upcoming year?

For young people starting out now who want to be composers; what advice do you have for someone who wants to do what you do and is just starting out?

Listen to everything you can. Learn everything you can. Read about the masters, watch all the classics, experiment with combinations of instruments and most important, do not copy other composers, learn from them: find your own voice, use your own unique ideas. The music that works in a film, as film music, is not always the most obvious choice. Keep an open mind as to what works, experiment with several things. Music that works in a film might never be something people would choose to listen to on its own, but married with film it becomes a powerful statement. Tell the story with your music. And above all learn to be a diplomat. You have to have the ability to accommodate the egos and personalities of several people who’s hopes, dreams, and future may lie with success of the film that has been entrusted to your care. 

psycho killer

Student film quartet, promises to break the boundaries and clichés of student film making with their project: Playing Judas a psychological Thriller. Picture Show writer and student filmmaker Charlotte Holmes takes us behind the scenes…

I arrive on set at the same time as our lead actor Adam Harrison, to find half of the filmmaking foursome setting up for an interrogation scene. We were promised the use of an old interrogation-cum-line up room, but promises were not met, and we have to make do with the Liverpool Hope TV studio. Efforts were made to make the studio look moody and solemn, and most importantly; like an interrogation room. How to light the scene is the hot topic, something we have not educated in. In a stroke of desperation, I pull up a Wikiepedia page on three point lighting, and we make a poor attempt of setting up.

So who are the filmmaking foursome? Liverpool Hope students and friends formed this group for their final year assessment: the production of a short film. The team consists of Marieke Weijers-Mcgovern scriptwriter of Playing Judas, Tom Davies, who has took on the role of director, Sam Paton, in charge of paperwork, and sound and Picture Show’s own Charlotte Holmes, who took on the role of casting.

                The crew are quiet but there is a relaxed atmosphere, I however I am feeling particularly concerned with the impending deadline, and the constant let downs (from mainly the actors) that slow the whole process down.

                Playing Judas is primarily about the feelings guilt, and the conflicting emotions felt. The story revolves around an alternative reality created by protagonist, Dean. After witnessing a crime, he retells his account to a detective, played by Laura Harris. It is at the police station that we realise that Dean is trapped inside his own head; his guilt is too much that he willing to betray himself.  The film looks at the Dean’s relationship with himself, his self loathing and self destruction. The film also looks at Dean’s relationship with women, his damaging relationship with his mum, and the trust he obviously feels with the detective.

                The film shifts from past and present, and reality to fantasy, and with almost no budget, how are the team going to effectively show the time changes. Director Tom says “We are using a handheld camera to show Deans alternative world, using quite a lot of close ups too.” Marieke flat will be used for the 80’s flashback where we meet Dean’s mum. The flat does surprisingly look like it has been trapped in a time warp, and is perfect for the shoot.

“The story isn’t something I would normally create, or write about, but the old interrogation room we were promised seemed such a great setting, the story sort of evolved from that. It is a shame; we never got to use it.” 

                Aside from the use of the interrogation room, we have had a lot of let downs, stalling their progress. Harrison is the fourth Dean we have had lined up for the role, with lead actors dropping out last minute or just not turning up on set. Organising several people, with busy lives is something I have found very difficult and stressful.  “We had everything all set up, Laura was ready to do her lines and our actor just didn’t turn up. So we are a week behind schedule as it is” explains Sam. This is when Adam Harrison stepped in. Friend and room mate to Marieke. “I am a drama student, but I have never done a story like this before. I really enjoyed reading the script.”

                Having followed the Wikiepedia page, we now have a grasp on three point lighting, our lamps are on and we are ready to film. This is the first time Laura and Adam have met, but we are surprised at how well they work together. Laura is stern and shows true commitment to the role. Problems arise with lines, as Adam has had the script for only a short period, meaning his lines are not well rehearsed. To keep things moving we decide it will be best to feed Adam lines, although quite time consuming, does save time for the long term.  

                Katie Madden is also due to join the cast, as Deans mothers who struggles with alcoholism. “Deans need for attention and lack of remorse is down to his neglecting mother. Katie’s role, although short is quite important” says Marieke. Filming for Madden scenes will take place in Marieke student accommodation

                By the end of the day the filming draws to an end. The interrogation scene is rapped up and we begin to pack away. “We might need to come back, if we find something doesn’t look right or continuity is broken” Tom says “We can check all that when we edit.” So what is next? With a deadline under a month away, we definitely need to pick up the pace. “We need two more scenes and a few establishing shots, which should only take two days.” Marieke reassures me “Then it is just the editing, which is probably one of the hardest things.” The crew appear to have everything together, and a good plan of what’s next, whatever does happen next Picture Show are sure their film will be great.

Playing Judas will be available to watch online May 4th.

Thriller!

Ex prison The Bridewell was the perfect location for Hope students spooky event Fright Delight. Featuring ghost stories, that made you question the supernatural, all in the aid of Alder Hey. Charlotte Holmes got an invite and a few unexpected frights.

Walking into the Bridewell Pub, one of the first things that came to my attention was the unusual layout. A long corridor with small rooms either side, it was like walking through a hotel. It was until we were told during a scary story that the Bridewell used to be a police station, complete with a Bridewell (it all was starting to become a bit obvious at this point). The rooms, now used for socialising and meals were once used for cells. We were told, shadowy figures had been scene in these cells, and I made it my mission to witness. Unfortunately I didn’t, which was a bit disappointing. That wasn’t to sya my night wasn’t free from scares..

The main event of the night consisted of ghost stories of Liverpool, complete spooky music and some surprisingly good make up and costume. The interval included palm reading, where I found out about myself (and I’m sure everybody else found out the same things about themselves as well) that I was logical, ambitious and had at least thirty years left in me, which is always nice to hear. The actor playing Darius was extremely intense (and a little over touchy), it was hard not to get drawn in to his prediction. There was also a raffle, the prizes ranging from boxes of chocolates to singed Liverpool shirt, which one of the children the event was raising money for, won.
Event organiser Marzena Ojlenik explains some of the actors dropped out, leaving them with spare parts “Some of the other actors and even event organisers had to fill in and play multiple roles”. She tells me this, dressed up as devil. “I’m very nervous, I’ll be shaking all the way through.” Considering this, the acting was good, you could say it was hauntingly good...
In the beginning of the show was slightly shaky, which I would put down to nerves, but it greatly improved as the actors relaxed. During some of stories it was clear some of the actors were missing, which made some of them hard to follow and a little confusing, but did a great job with what they had.
Stories included zombies, possessed dolls and countless appearances from the devil. A few unexpected screams made the audiences jump, (we me leading the way) there were even a few laughs.I may not have seen any ghost, but I got a few scares and was pleasantly surprised by the evening events. Overall the event was a success, raising over £100 on the night and over £800 altogether. It was frightfully delightful. 

Possibly the Next Big Thing?

Click to hear some music



So what would happen if you got signed? “I’d say 'See ya later Callum'!” says David about his absentee drummer, who unfortunately for me pulled out of my interview last minute, something more important came up. This, however only gives ammunition, to the remaining Possibles members for abuse… although I am not sure they really need ammunition. Having the privilege of being the first to the interview The Possibles, I don’t have to worry about boring them by asking the obvious questions, so I start with who actually are The Possibles? 

 Left: David, Callum and Mark.  Right: Mark, Chris and David

“Hi my names Maria… I’m David and I am the poet”

“{Chris} And I am on the strings… {directed towards Mark} the proper strings. Guitar”

“I’m Mark and I’m on the bass”

After I request someone speaks on behalf of Callum, David exercises his best acting skills, and dons a deeper voice, “Hi I’m Callum, and I play drums”, much to the amusement of Chris and Mark (and myself).  



So David Moore, Chris Walters, Mark McCullough and Callum Hughes form this new four some from Liverpool, claiming to sound like Joy Division (moody?), The Smiths (gloomy?) and The Doors (swinging?), coming together to make a combination of melancholy guitar riffs, sullen vocals, heavy bass lines and keyboards. The band is, obviously lacking a keyboard player, but are in the market for one.

Chris “{on having a keyboard player}… get an extra element going, it is a bit empty at the moment {when performing live}….usually have two guitars when we have recorded.”

So the creation of The Possibles, a ‘mash up’ in itself, coming together after previous failed bands: David, Mark and Callum leaving one band and Chris leaving an other. On the look out for a guitarist, Mark drafted in Chris who both met in university, and as Chris puts it “He saw potential straight away.”, “I think Mark fell in love, from the start” suggests David, and so there was The Possibles, a slightly romantic insight into the making of. 

 What is endearing about The Possibles is their casual attitude towards the band, it is something they all enjoy and invest in but all have other priorities in their life such as university and jobs. At the moment they are playing purely for the pleasure, which could be one of the best qualities to have whilst being in a band. In regards to getting signed, they are on the look out, they claimed to have no worries about leaving their jobs, even bassist Mark, who is currently studying to become a teacher (how very Sting of him), said he would not miss out on such an opportunity.

It is clear that music is off great importance to The Possibles as discussion of music dominates general conversation, after Mark and Chris discuss who the band of this generation is (The Libertines or Arctic Monkeys) they join forces in trying to convince David that the 90’s was a better decade for music than the 80’s. David however, set on the 80’s, proves his point by creating an 80’s playlist on the juke box. After much deliberation the three members agree on the 60’s, which bring me to influences. Comparisons have been made by friends and fans, in particular reference to David’s style of singing, to Joy Division his voice is very melancholy and the music is very bass driven, a bit of 80’s nostalgia for the 21^st century.

Having played previous gigs in their other bands predominately to friends, the band wanted to perform to a crowd of unknowns to gain some fans. So arranged by Mark The Possibles played to the Liverpool Hope University halls of residence, set up in the common room and minutes away from performing the act was cancelled.

Mark says “Got cancelled before we had even played a note” Chris adds “Yer I was ready to walk home!”

“But Mark just saw red and got us back on… other than that, it went alright, usually first gigs you’re a bit shaky” says David.

Minor problems occurred during the set with the microphone equipment they were given to work with was, perhaps slightly inadequate. The instruments were a lot louder than the vocals, however audiences were impressed and it was clear that the practice they put in pays off.

The Possibles are taking things slow when it comes to recording, sticking to two songs per session, at the moment they have four recorded songs creating an EP style CD.  “I think I’d enjoy it {recording} more, if I didn’t have to sit there and hear 'Alright Callum we’ll do another take please'” says ‘one take Dave’. With one new song done and another in the pipeline another trip into the studio isn’t too far off.

2011 is supposed to be the year guitars come back into the charts, so this could be the perfect year for The Possibles, with realistic future goals set on getting more gigs, and improving the sound of their music, things do look promising. “I think in the future we just don’t slag off fellow band mates!” suggests David.

Look out for The Possibles be sure to vist their Facebook and Myspace pages.

Source Code: Preview

 

Looking just as head scratching as “Moon”, Duncan Jones’ new film, "Source Code" looks set to be explosive. On first impression it looks like a cross between “Twelve Monkeys” and “The Matrix”, the film sees the world with two realities, in which Jake Gyllenhaal travels between.

“Source Code” is about a computer software programme which gives allows a person the ability to take on another person’s identity in the last seconds of his life. An American experimental organisation uses this software to investigate a train bombing and try to prevent another terrorist attack, cue Jake Gyllenhaal being blown up every eight minutes, enough times to make him try to alter the past, in order to save fellow passenger Michelle Monagham.

Jones' second project looks to have a bigger budget than "Moon" and the cast is just as big, but what does seem interesting is the writer Ben Ripley, relatively unknown, it shall be interesting to see how that comes about.

Sounds a little confusing, Jones clearly has a strong interest in the psychology of the mind, regarding his characters and audiences, instead of clones commanding a moon base, it’s a person taking on another mans identity to prevent future terrorist attacks. Similarities to "Moon" is claustrophic location were the film is set.

Despite being English born, and predominantly being raised in England, Jones has opted for another American film. However a terrorist attack on a train sounds remarkably similar to the London bombings, so his British roots are perhaps not entirely lost. Besides the chances of an experimental government organisation such as the “Source Code”, happening in America is far more likely than anywhere else.

“Source Code” is out March 11.

"I think people want to stick me in a small place, a train is bigger a moon base though. Next it might be a yatch, eventually it will be the Death Star…” Jones

Danny Boyle: 127 hours

On his upcoming film “I saw it as compelling beyond belief.”


Director Danny Boyle

Director of cult classic ‘Trainspotting’, horror hit ‘28 Days Later’ and multi –award winning Indian drama ‘Slumdog Millionaire’, Danny Boyles next move is “127 Hours”. The true story of a lone hiker Aron Ralston, who gets wedged between a rock in the Blue John Canyon (based upon the memoir Between a Rock and a Hard Place)  ‘127 Hours’. So how is Boyle going to fill these, metaphorically speaking, 5 days worth of film?  With James Franco as the lead and pretty much only actor, it suggests that Boyle has a lot of visual work to be done.

Talking to Empire Magazine Boyle says “…But listen, I’m 54 so I’m no virgin lad suddenly thinking, ‘I am tops!’ I’ve seen it come and go, not once but a few times. I can keep a perspective on it. But I did use the confidence to take this through other people’s scepticism and caution.”

In an interview with Danny Boyle at Movie – Con (16 Aug 10), found at Empire Online, he very passionately talks about his upcoming film, and discusses the use of video dairy footage that Ralston recorded during those five days, believing he would die, this gives room for some dialogue and interaction rather than him just talking to himself. These video diaries which Ralston let Franco watch, helped him tap into his emotions. “I probably will never get anything like that again for a role.”

Already having been screened at the Toronto International Film Festival (September 12, 2010), the 2010 Telluride Film Festival and the 2010 London Film Festival (28 October 2010) it has had positive reviews , with 93% of 143 professional critics on Rotten Tomatoes positively reviewing it.  

The notorious amputation scene, which left two audience members requiring medical attention, was shot in one take using numerous cameras filming from various angles. Lets just hope we can keep our popcorn down to see if it's a happy ending.

127 hours opens 7 January