Making a script in conjunction with a piece of music

Brickhouse

Brickhouse

Well-known member
It's hard to explain what I mean by making a script in conjunction with a piece of music, but what I want to do is take an original musical composition, and writing a script, the scenes of which would flow in conjunction with the bars of the musical piece. I'm not talking about making a film along with the song, but writing a script with the same rhythm and progression. It would be a feature script and a 4 minute musical piece.

Has something like this ever been done? I think it's a very interesting concept, and it also works with the themes I would be trying to convey in the story.

Let me know what you think.
 
I think he means transposing a music structure onto a dramatic structure, but music and drama already have similar structures. It's the structure of sex (ACT 1 is foreplay, ACT 2 is coitus, ACT 3 is climax and release).
 
Batutta said:
I think he means transposing a music structure onto a dramatic structure, but music and drama already have similar structures. It's the structure of sex (ACT 1 is foreplay, ACT 2 is coitus, ACT 3 is climax and release).
Click to expand...

That is what I mean, and I realize that it is already similar, but what I am suggesting, is doing it with a specific piece, in my case Chopin Nocturne Opus.9 no.2.
 
Bergman was constantly inspired by—and structured his films in accordance with—specific musical forms. This page contains plenty of examples and quotes.

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Trivia:

Some time during, or shortly after the making of A Clockwork Orange, Anthony Burgess told Kubrick about an idea he had for a novel that parodied the style of Jane Austen, while following the structure of a Mozart symphony. Kubrick managed to convince Burgess to instead write a novel about Napoleon, based on the structure of Beethoven’s third symphony, Eroica (which was originally inspired by, and named after Napoleon, until the composer became so disenchanted by Bonaparte’s actions that he removed the dedication, and renamed the work so that it could reflect any generic ‘heroic’ story).

Kubrick planned to adapt Burgess’ book into a screenplay that would replace the existing script (with which he was never quite satisfied) for his (by then already once-shelved) Napoleon project. Burgess did eventually complete and publish the novel, Napoleon Symphony, which was dedicated to Kubrick. Unfortunately, as we all know, Kubrick never managed to produce a film about Napoleon, let alone one based on Burgess after Beethoven.

DP
 
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