Interview with Rachel Portman

Studio 360 did a piece on Film Composer Rachel Portman (Cider House Rules, Manchurian Candidate, Chocolat, Emma, Joy Luck Club) this past weekend. She just finished the score for Roman Polanski's Oliver Twist coming soon.

12 Tone Music

Artwork by Doctor S.

While 12 tone music has never really taken off among the listening public, it became the academic approach to composition at the ivory towers. For film music, the 12 tone system can come in quite handy giving one a planned method for achieving a certain amount of dissonance. This is especially useful for tense, horrific, or macabre moments. It also can be used to evoke jazz as David Shire did in his beautiful score to the Joseph Sargent's 1974 "The Taking of Pelham, One, Two, Three," starring Walter Mathau. Take a listen to a moment from the film here.

Nice article in the Boston Globe on the father of 12 tone music, Arnold Schoenberg.
"Schoenberg was 18 years younger than Freud, who put names on recognizable emotional conditions no one had described openly before. What makes Schoenberg's music essential is that he precisely delineated recognizable and sometimes disquieting emotional states that music had not recorded before. Some of his work remains disturbing not because it is incoherent, shrill, and ear-splitting but because it unflinchingly faces difficult truths." - the Boston Globe.

Evoking Tension in Film

This is one of those emotions that is almost singlehandedly carried by the music in a film. Try watching any tense moment on film with the sound turned off and it's completely lost. I tried to watch the beginning of Monsters, Inc. with my 3 year old son recently. I had forgotten how scary the opening moments were - and my son has never seen anything scarier than Dora the Explorer or Maisy or Miffy. (Noggin is big in our house.) And as my son started to slink down into the couch, I reached for the volume to erase the scariness.

John Williams' 2 note motif for the shark in Jaws still brings back terror to many. Flicking through the channels the other night, I stumbled on a film noir moment and the soundtrack was just chilling.

The Coen brothers' first film Blood Simple, scored by Carter Burwell, is one of my personal favorites. In re-watching it this week, I noticed how cheesy the synth sounds used were. Most of the first scenes of tension used these synth patches which have been relegated to the discount bins now. The main theme of the film really holds up well with it's minimalist piano and moodiness. Then again, they made the entire film for $1.5 million with funds invested mostly from small business people and nobodies far, far away from Hollywood.

I also noticed how some of the main tense moments utilized diagetic music (see my previous post on Diagetic vs Non-Diagetic) as the score and it worked quite well.
Take a look at this short clip. In this final moment of the film (don't look if you haven't seen the film, you'll know too much)
Frances McDormand's character is being hunted and is desperately trying to save herself. The music in the moments before this seem to be coming from her Portugese neighbor's window echoing through the courtyard. The diagetic music then rushes up to the forefront building on the final moments. (M. Emmet Walsh is fabulous btw. Remember him in Blade Runner?)

Blood Simple won the Grand Jury Prize at the 1985 Sundance Film Festival

The Beautiful Country

This is a beautiful, yet heartwrenching story. Norwegian Director Hans Petter Moland has shined the light on some pretty horrific things that happen everyday to illegal immigrants. The story follows a half-Caucasian/half-Vietnamese young man from his home to his search for his real mother and then his father in the USA. The score by Zbigniew Preisner (Three Colors Red, and all of those great Polish films) is haunting and delicate. The early scenes in Vietnam felt a little trying too hard to capture Vietnamese exoticism, but as soon as we move in to the modern film harmonic language, Preisner's score is very effective.

Nick Nolte's performance is just spot on perfect.

What made it even more hard to watch was the fact that we used to live in Hong Kong and have seen the camps set up for the Vietnamese. Set in the most beautiful green hills in a remote area, the walls were 20 feet high blocking any view of anything except for the sky. My wife went to the camps to run some HIV workshops and the people were just so appreciative to have anyone from the outside actually thinking about their well-being. Some of those kids then took part in the summer school program (Summerbridge Hong Kong) she directed.

The magic of film has made us all feel the pain and suffering in a way like no other.

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I went to Vietnam in 1993 to headline a concert on China Beach at an international surf competition. We stayed a night in Ho Chi Minh City and played an impromptu gig at a club/restaurant where we were eating dinner. There was a wedding going on and the bride and groom and all their guests gave us a standing ovation. Flying in, we saw hundreds of "crater lakes" which covered the country. We played a gig at the Da Nang city hall with amps that looked like were from pre-war Soviets. I lost my electronic tuner that night. There were hordes of very enthusiastic young Vietnamese men hanging around us everywhere. One night at a club where we were honored guests watching some great music, I expressed my admiration for the Vietnamese instrument called the dan bau. It's a single string wooden instrument that sits on a table and the tension of the string is changed with a flexible plastic or wooden "bow". The player, usually women, can express so much by also using harmonics created by touching the side of the hand to the string. The band we saw were fully amplified and the player, a man, was doing Jimi Hendrix plays the dan bau. Awesome! The next night, standing on the beach playing our concert, a man came up to us and said he had heard I was interested in the dan bau and had driven 40 miles with his. I bought it and have since not been able to get it to sound anything close to what I heard that night.
We drove motorcycle across the rice paddies on the mud walls that line them. Stopped and had a slow drip coffee and baguette - best in Asia. And those beautiful school uniforms, flowing white as the girls rode home for lunch on their bicycles...Vietnam was/is so magical. It truly is a beautiful country.

Junebug - silence as score

I saw the lovely movie Junebug (director Phil Morrison) last night. Wonderful film with great acting, direction, editing, writing. The music credit reads "original music by Yo La Tengo", the indie group. And there was a song of theirs in the opening credits and at the end credits and then maybe 2 other music cues, which actually sounded like something out of a stock library. And then...silence.

The story is of a Chicago art dealer (played by Embeth Davidtz) who goes to a little town to sign an outsider artist and meets her new in-laws. There are these great shots of the neighborhood in a semi-rural location somewhere outside Chicago. And they are shown in complete silence. There are several sequences using this silent "score" to convey the emptiness in the neighborhood, the house of where her husband grew up and the community.

In many indie films, I usually feel like the dramatic action could have used some underscoring. Or worse, the song choices used instead of an original score take too much attention away from the story.

Here, the silence was so loud. Stunning and effective. Sort of like a John Cage score...Silence by Yo La Tengo.

Paperwork, Contracts, Licenses

To make sure you have the right to put music in your film whether you hire a Composer or license a work from a Publisher and record label, you need to have the right paperwork.

We talked about the 2 basics before: A Synchronization License (sometimes called a Sync License) and a Master Use License. The sync license, from the publisher, allows you to put it to your picture and the master use is from the record label or whomever owns the "master recordings."

Here's a good place to look at sample contracts.