Books on Composing

J

jhvid

Well-known member
I'm looking for a good book about film scoring that would be helpful to a director looking to communicate better with the composer. Any books that you guys have read that might fit the bill?
 
Hi,

Coming from a composer's point of view, I found this book very useful when starting out:

Complete guide to film scoring by Richard Davis

It explains the scoring process from spotting through to the business side of things. I'm guessing you'd like an insight into how a composer works, techniques, processes etc...?

With the advent of (relatively) low cost equipment and technology in recent years, some processes have changed but much of it is still relevant, plus it has an interviews section at the end with composers such as Goldenthal, Elfman, Silvestri, Mancina, Isham etc. that you might find interesting.

Are you looking to clarify the language and jargon of music composition? Most composers are used to having to decipher abstract terms and translate emotions when given a brief so it might not be that big a leap if you can describe roughly what you want from your soundtrack.

Simon Wilkinson
Composer
www.thebluemask.com
 
I couldn't tell you - bluemask may have the best idea.

What we did, was I contacted a composer and gave him a semi-locked (I know it should have been locked) version of the movie with timecode. He then created music to fit each scene and sends me music that responds to a specific time. then I can easily drop the song cue into my timeline and adjust the levels of the music.

Not sure if any of this will help you, but all we did was talk about what I thought was best for the movie and I pointed out several movie scores that I liked and the "feel" of the movie. He was extremly knowledgable about scoring and about his field. I knew about directors - he new about composers. It was so liberating to work with someone who was good at what he does. He helped me through.
 
Thanks to both of you; I'll check that book out. What you describe is the way that I have worked with composers in the past, and I've been happy with the results. I'm just thinking that if I get a cursory understanding of the language and jargon (as bluemask says) and the process that maybe I can better communicate what I have in my head. Mostly it's curiosity, but it is also wanting/hoping to be able to communicate better and make the composer's job easier.

Kind of like when I work with a DP. I don't know loads about lighting and cinematography, but I know enough that we can communicate on a fairly technical level and there is less to get lost in translation. Plus, I think it shows a certain amount of respect for the other professional when you are able to communicate on their level, at least in a basic sense.

Thanks for the tips.
 
Good luck with your films - sounds like you have a good appreciation of your contributor's skills.

And don't forget to just tell your composer what you might or might not want. It can be a fairly common language we all speak, so don't worry too much about jargon...
 
I'd agree that the best way would be to work it project by project.
If you can stick with one composer for one type of work, then over the years, your communication would be a lot better. I usually start mine informally way before pre-production, to let them get a feel of it and thinking about themes, etc.

And then, guess what? Piano lessons wouldn't be a bad idea either. Like acting lessons, you don't have to be an ace performer to get what it should feel like when it's being done right.
 
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