Another week, another blog. That it’s another blog about this short film is curious enough. That it’s coming so soon after the last one, and we haven’t even shot anything in a couple of weeks, well, that’s something of a miracle. But my goals require fast work, not months of slacking.
This past week, I began work on scoring “Unwinnable Hand.†In point of fact I’ve been working on the music since late 2007, but this week I began recording it. And what did I learn?
Well, what I should have remembered from my experiences on “The Case†for Chris- when it comes to scoring, you gotta have the film in front of you. Very little of the ideas from that early writing are actually being used in the composition as it’s being rewritten to the film, but such is the way of things. In the case of the piece currently in question, entitled “Edge Runner†(which I’ve always liked as either a name for a band or composition), there’s something kind of problematic about that, as I’m trying to find a balance of not wanting it to FEEL like underscore, while also trying to have move with the flow of the action onscreen. Why?
“Edge Runner†is intended to be “source music,†that is, music from an onscreen source. In this case, a stereo in the living room. The sound mix for the film will help that illusion, but my goal was always for the “techno music†(as it was called in the script) coming from the stereo to flow somewhat with the action onscreen. This was an idea that came about from Henry Mancini’s score for the Welles’ classic “Touch of Evil†(and no doubt others along the way, but that’s the benchmark for me), and has always intrigued me. So why not incorporate it into a film of my own? Seeing as though no actual “underscoreâ€- that is, music NOT from an onscreen source, and written specifically for the scene- seemed appropriate for most of “Movement Iâ€- it’s all dialogue folks, it sporadic “cues†would seem somewhat odd in a lot of places- here’s a solution that not only calls upon my skills as a composer (‘cause let’s be honest, love to as I might, I can’t exactly afford to license music, although a couple of pieces came to mind for inspiration), as well as helps me to further tell the story in a unique way.
Those of you familiar with much of my music over the past few years- Hell, my entire composing career really- will no doubt notice, I’m not one for grand orchestrations. Reason being, well, I have yet to really delve deep into large ensemble writing- though some pieces (my electronic “Otherworldly March†and “Gothic Twilight,†as well as other pieces, heretofore unreleased) fit the bill. On top of which, many of my pieces sort of gravitate towards simple orchestrations anyhow.
Part of this is my compositional technique, which relies heavily on immediate improv and on-the-fly writing. If something seems to get in the way, it’s generally gone (and mostly percussion, as you’ll notice…sorry percussionists). Plus, in film music (my main field of composing I’ve taken an interest in), less is more, and while the “Wall of Sound†approach works for some (and don’t get me wrong, some of my pieces DO work within this philosophy), it sometimes can feel heavy-handed to the ears. I noticed this a lot working on “The Case,†and have noticed it again in the case of writing “Edge Runnerâ€- sure, there’s not much going on musically, but it’ll serve its’ purpose with what’s onscreen, and that’s where its’ strength lies. Film writing is not the same as writing for the concert hall. That said, music that can stand up in both listening environments is music you’ll remember.
The trick for me is to ultimately remember why I’m writing the piece I’m working on to begin with. Back to the musical keyboard.
Thanks for listening,
Brian Skutle
www.sonic-cinema.com
www.myspace.com/brianskutle
www.myspace.com/cinemanouveau– Featuring deleted scenes, trailers, and more from “Unwinnable Handâ€
Click here to download or watch Brian’s first video diary after the first day of shooting.
Click here to read my ninth “Unwinnable Hand” Production Diary.
Click here to read my eighth “Unwinnable Hand†Production Diary.
Click here to read my seventh “Unwinnable Hand†Production Diary.
Click here to read my sixth “Unwinnable Hand†Production Diary.
Click here to read my fifth “Unwinnable Hand†Production Diary.
Click here to read my fourth “Unwinnable Hand†Production Diary.
Click here to read my third “Unwinnable Hand†Production Diary.
Click here to read my second “Unwinnable Hand†Production Diary.
Click here to read my first “Unwinnable Hand†Production Diary.
Click here to read “Red Cup Mafia,” another short script I wrote in November 2006- inspired by some recent happenings at work- that I hope to film in the future through Cinema Nouveau Productions.
