[quote author=John Hudson link=board=Jobs;num=1072645547;start=25#36 date=04/04/04 at 14:31:58]We have to have an idea that can move forward. perhaps an inspiration can start with a GENRE first? And move from there?
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Let's start instead with the music! I suggest we work around the idea of a classical music soundtrack, and I can provide beautiful recordings of public domain works by great musicians who'll play for free (well, for free recordings). Something creepy and mysterious with music from the early 1900's... say Scriabin.
Also, I've got some robots, who have worked in theater and soccer competition in the past, and they've been bugging me to get into the movies. (See http://ullanta.com/ullanta ). A heartrending robot story?
If someone wants to help write some grants, I'm sure we could get nice funding for a Quechua language film.
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OK, here's another gripe: I'm sick and tired of directors who claim they care about sound, and then refuse to acknowledge that there will even be sound in their film when production starts...
I'm pretty sure that the score comes once the filming has started, or at least, you don't base the film on the scoring. No hard feelings on the REAL actor bit, but you are just one man, most films require more then that, and we would like to get as many peopl eas we can to audition for the parts we are casting.
[quote author=PurposeDriven link=board=Jobs;num=1072645547;start=25#43 date=04/05/04 at 23:57:19]I'm pretty sure that the score comes once the filming has started[/quote]
Hey count me in on this matter, I can Prod/direct also. I'm in Glendale CA. Hudson we talked about about this a month ago. Let me know what is going on.
Ullanta you are totaly right about sound! Whether it is location sound or the scoring. belive I read somewhere that Gearge Lucas filmed every scene in American Graffetti(Speel Check) To the exact songs for the soundtrack. And that that he wrote the scenes for the songs. 8)
That's not the way I like to operate. My vision should not be affected by the composer. The composer may come with some great ideas, but I want him to accomodate my film, not the other way around. Elvis, that's also a bad film to use because it was made to be played with modern radio music the entire time. Not like a typical film that was scored. From what I have read, Lucas listens to music, not the score, and uses music he likes to find a pacing and theme that he likes, and coveys that to the composer. You don't score a film before you shoot it IMHO. You get samples of themes from the composer through-out the production, but it's not fully scored.
Cartoon... yeah... all I have got to say. Regardless, if you want to score something so badly before you shoot. Then score the damn thing. If Hudson is the director for the first project, let him say what he wants to do. I don't really care, it's his vision.
Woody Allen says "Manhattan" started with Gershwin.
But seriously... indeed, many projects have begun with the music, or the sound. I don't think that's arguable, or desireable to argue. As for what we're discussing here, I'm just throwing out ideas.
However... even if your script is written, your stories are boarded, your lights are flagged... if you don't know what your sound is gonna be as you're shooting, you're leaving more than half of your end product up to fate. The role of audio in a film is tremendous; it is PRIMARY rather than secondary. Sound sets moods more effectively than vision, maintains continuity across cuts, often determines the level of intimacy of a scene, presents information about the world offscreen... and so much more.
Try this: Choose a movie you don't know to well. Listen to it without watching it (as we often do with TV, going about our business in the house, etc.). Watch it without listening to it. Which is a more satisfactory, rich experience?
Many people - and books, articles, etc - will tell you that the most common weak point of low-budget films is sound. Don't fall victim to the misconception that film is primarily a visual medium; or, at least, please don't assume that sound is something that happens purely in post. Don't throw away your artistic power, or neglect it!
You could have done w/o the sign off of your name. My whole argument is, I don't write the music before you shoot. If you come to the set, with certain musical peices that you want your score to sound like, that's all good. You are also getting me all wrong. I have over $12,000 in sound equipment. I'm a freaking sound technician for a larage church. I know the importance of audio, I'm still on the score or soundtrack. Sound is vital, very important, but the score compliments the film, not the other way around. Or else you are going to get a music video in a theatrical style.
Oh, well. Let's chalk this up to differences of opinion.
I'm not sure what you mean about the name sign-off...?
John:
I can work with that . My suggestions were for mood setting... however, in thinking ahead to the editing process, I think it's good to know, at least in general terms, what the sound'll be doing when shooting. A sonic complement to the storyboard so that one knows what needs to be captured, what rhythms are driving things, what the audience will know about what's offscreen...
I must admit that I was inapproprietly posting non - John's project related stuff...I wasnt at all refering to this project, which I'm not and am not going to be involved in...I'm in GA! I just happened upon the little bit about the score and all that. I'm butting out now! But yeah....good point....cartoons! But if John gets interested in a cross between The Wiz (you know, the Diana Ross musical) and 28 Days..... Zombies The Musical...then yeah........