Film score
The score comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question.[11] When syncing music to picture, generally a leeway of 3–4 frames late or early allows the composer to be extremely accurate.[12] Working with software allows composers to create MIDI-based demos of cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording.Each composer has his or her own inspirations and pragmatic impressions that create unique and compelling sounds that can help to make a scene memorable.One example of this is in the "Lord of The Rings" score where Howard Shore uses a specific melodic idea to refer to The Shire by employing a tin flute to evoke a Celtic feeling.In this score, composer Ennio Morricone uses a culmination of post-tonal music theory, Celtic song, gregorian chant, and mariachi trumpets to create the sound of the spaghetti western, one that is often associated with the wild west (Kalinak 2010).Other examples include Torn Curtain (Bernard Herrmann),[19] Troy (Gabriel Yared),[20] Pirates of the Caribbean: The Curse of the Black Pearl (Alan Silvestri),[21] Peter Jackson's King Kong (Howard Shore),[22] Air Force One (Randy Newman)[23] and The Bourne Identity (Carter Burwell).[26] Similarly, the music of the Lord of the Rings film series featured recurring themes for many main characters and places.An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's The Deer Hunter.Some critics value it highly, pointing to music such as that written by Erich Wolfgang Korngold, Aaron Copland, Bernard Herrmann, and others.The origins of film music are disputed, although they are generally considered to have aesthetic roots in various media forms associated with nineteenth-century Romanticism.[30] According to Kurt London, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector.[32] Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide.It was preceded by Nathaniel D. Mann's score for The Fairylogue and Radio-Plays by four months, but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows.German cinema, which was highly influential in the era of silent movies, provided some original scores such as Fritz Lang's movies Die Nibelungen (1924) and Metropolis (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz, who also wrote piano-versions of his music, for playing in smaller cinemas.Other films like Murnau's Der letzte Mann contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes, which were artistically included into the score by the composer.Steiner and his contemporary Erich Korngold both immigrated from Vienna, bringing with them musical structures and ideologies of the late Romantic period.[37][38] Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required.[39] American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as a major influence on their own forays into film scoring.One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in M. Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations.Phonographs, the only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors.[41] A landmark event in music synchronization with the action in film was achieved in the score composed by Max Steiner for David O. Selznick's 1933 King Kong.A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites.Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms.The following list includes all composers who have scored one of the 100 highest-grossing films of all time but have never been nominated for a major award (Oscar, Golden Globe etc.).Other documented instance of director-composer relationships includes: Bernard Herrmann with Alfred Hitchcock; Jerry Goldsmith with Joe Dante and Franklin Schaffner; Ennio Morricone with Sergio Leone, Mauro Bolognini, and Giuseppe Tornatore; Henry Mancini with Blake Edwards; Georges Delerue with François Truffaut; Alan Silvestri with Robert Zemeckis; Angelo Badalamenti with David Lynch; James Newton Howard with M. Night Shyamalan; Éric Serra with Luc Besson; Patrick Doyle with Kenneth Branagh; Dave Grusin with Sydney Pollack; Howard Shore with David Cronenberg, Peter Jackson, and Martin Scorsese; Carter Burwell with Joel & Ethan Coen; Bill Conti with John G. Avildsen; Lalo Schifrin with Don Siegel, Stuart Rosenberg, and Brett Ratner; Hans Zimmer with Ridley Scott and Christopher Nolan; Harry Gregson-Williams with Tony Scott and Andrew Adamson; Clint Mansell with Darren Aronofsky; Dario Marianelli with Joe Wright; Trent Reznor and Atticus Ross with David Fincher;[44] Steve Jablonsky with Michael Bay, Mychael Danna with Ang Lee and Atom Egoyan, Terence Blanchard with Spike Lee, Randy Newman with John Lasseter; Thomas Newman with Sam Mendes; David Newman with Danny Devito, Brian Levant, and Stephen Herek; John Debney with Jon Favreau and Garry Marshall; Gabriel Yared with Anthony Minghella; Joe Kraemer with Christopher McQuarrie; Michael Giacchino with J. J. Abrams and Brad Bird; James Horner with James Cameron and Ron Howard; John Barry with Bryan Forbes, Anthony Harvey, Terence Young, and Guy Hamilton; Elmer Bernstein with John Landis, John Sturges, and Robert Mulligan; Maurice Jarre with David Lean, Peter Weir, and Georges Franju; Philip Glass with Godfrey Reggio; Cliff Martinez and David Holmes with Steven Soderbergh; Akira Ifukube with Ishirō Honda; A. R. Rahman with Mani Ratnam; George Fenton with Richard Attenborough, Nicholas Hynter, Ken Loach, and Stephen Frears; Klaus Badelt and Ernst Reijseger with Werner Herzog; Randy Edelman with Ivan Reitman and Rob Cohen; Marc Shaiman with Rob Reiner; Elliot Goldenthal with Julie Taymor and Neil Jordan; Rachel Portman with Beeban Kidron, Lasse Hallström, and Jonathan Demme; Christophe Beck with Shawn Levy; Arthur B. Rubinstein and David Shire with John Badham; John Powell with Doug Liman and Paul Greengrass; Trevor Rabin with Renny Harlin and Jon Turteltaub; Harald Kloser with Roland Emmerich; David Arnold with Michael Apted and John Singleton; Michael Kamen with Richard Donner, John McTiernan, and Terry Gilliam; Jorge Arriagada with Raúl Ruiz; Zbigniew Preisner with Krzysztof Kieślowski; Mark Isham with Alan Rudolph and Robert Redford; Basil Poledouris with John Millius; Joseph Trapanese with Joseph Kosinski; Jonny Greenwood and Jon Brion with Paul Thomas Anderson; Brian Tyler with Justin Lin and Sylvester Stallone; John Ottman with Bryan Singer; Marco Beltrami with Wes Craven and Guillermo del Toro; Tyler Bates with James Gunn, Zack Snyder, and Rob Zombie; Pino Donaggio with Brian De Palma; and Alexandre Desplat with Wes Anderson, Roman Polanski, and George Clooney.
Film Music (album)composersdirectorproducerorchestrasound engineerlive theatretelevisionvideo gamessoundtrackincidental musicWestern classical musicnew-ageambient musicworld musicelectronic elementsorchestraldigital technologyaudio samplingmusic composition softwareMIDI controllersmusicalsdiegetic musicJames HornerMy Heart Will Go OnTitanicCeline DionediteddiegeticGodfrey ReggioKoyaanisqatsiPowaqqatsiPhilip GlassSergio LeoneEnnio MorriconeThe Good, the Bad and the UglyOnce Upon a Time in the WestOnce Upon a Time in AmericaSteven SpielbergE.T. the Extra-TerrestrialJohn WilliamsscriptstoryboardsHans ZimmerChristopher NolanInceptionGustavo SantaolallaBrokeback MountainSMPTE timecodeclick trackDigital PerformerLogic ProFinaleCubasePro ToolsMIDI mockupsorchestratedsoundtrack albumHollywood Studio SymphonyAmerican Federation of MusiciansLondon Symphony OrchestraCity of Prague Philharmonic OrchestraBBC PhilharmonicNorthwest SinfoniaStanley KubrickGyörgy LigetiAlex NorthFrank CordellTorn CurtainKing KongAir Force OneThe Bourne IdentityWagnerleitmotifStar Wars musicDarth VaderLuke SkywalkerPrincess Leiamusic of the Lord of the Rings film seriesJerry GoldsmithKlingonStar Trek film seriesMichael Giacchinotelevision seriesSource musicfilm theorydiegesisFrankie ValliMichael CiminoThe Deer HunterAlfred HitchcockThe BirdsDogme 95Erich Wolfgang KorngoldAaron CoplandBernard Herrmannclassical musicSergei ProkofievAlexander NevskyVaughan WilliamsScott of the AntarcticMarcus Pausconcerts of such musicpops orchestrasSociety for the Preservation of Film Musicmovie studiosRomanticismLumière brothersvaudevillecue sheetsLumière brothers'The Oz Film Manufacturing CompanyLouis F. GottschalkVictor HerbertThe Fall of a NationThe Birth of a NationCamille Saint-SaënsThe Assassination of the Duke of GuiseNathaniel D. MannThe Fairylogue and Radio-Playsmagic lanternphotoplay musicGerman cinemaFritz LangDie NibelungenMetropolis