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Ten Tips for Memorable Musical Collaborations

by Annette Golden

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As Film/TV composers, we constantly finesse our skills and studios to meet any number of diverging musical demands- probably the most rewarding aspect of composing in a collaborative world is that your creative talents and ideas keep growing with each new project.

Achieving the best musical outcome for any production is obviously about great communication with the director and other core team members, especially editors and sound designers.  Early involvement is perhaps the most important single element in building the basis for this communication. But how do you get that early involvement, when more often than not, the assumption is that you only need to “add your bit” after most of the key creative decisions have been made.

If you take a few initiatives, you might help in changing this assumption. Here’s a few practical ideas that have come from short film collaborations with fellow AFTRS Grad Dip students this year. While they are directed mainly to composers, there’s plenty here for directors, producers and other core team members as well.

1. Ask for a copy of the script - even drafts in early stages will provide the general story, characters and emotional tone and mood of the work.  You may even get ideas for a sound palette immediately, or, if not, it will at least encourage you listen to and gather ideas from other sources. It may also suggest blends of instruments or synthetic sounds sources, that will help kick off discussions with the director and producer regarding budget for musicians, licenses etc.

2. Ask the director/sound designer/editor for any sound references that resonate for them - this can be ideas from their favourite movies, bands, YouTube clips, other projects that relate to the mood, emotions, characters, storyline.

3. Collect other references from the cinematographer, designers, such as stills, costume and set designs.  Often, the director will have this together as a package, so don’t get left out of discussions involving these resources.

4. Get together with the director, producer, rest of the crew for a script read-though and discussion of the production schedule- this is not just a great excuse for a wine and pasta night!!  Throwing ideas around can identify areas where music cues will take centre stage, and others where silence is golden! And you can all laugh at each others really bad acting!

More importantly, composers and sound designers can identify areas where they will work closely together. Encourage everyone to bring their reference examples, such as sound textures, stills and designs with  rhythms, emotions, moods, colours and characters that resonate.

5. At any stage send the director/producer/sound designer/editor your sketches as they evolve - this could be as simple as emailing short ideas and motifs on MP3, with a brief explanation regarding the context, meaning and why you think they’ll work. Even before any film has been shot, you can prepare a montage of themes and rhythms.  This is really useful for the director and cine, who may incorporate these ideas into further script edits and shot lists.

6. Visit the set/attend a shoot - Sometimes the actors, and overall look and feel of the set and locations/atmos will encourage all sorts of creative associations and ideas that can suggest instruments, timbres and rhythms.

7. Yes, the looming spectre of temp music… can make you shudder, but how about getting in first with your own original music or other existing score that works for you. Then have another discussion with the director and editor about what can/can’t be achieved and where other musical resources, such as musicians, will fit into this.

8. If you get that recording day, make sure you invite the director, sound designer and other interested team members – and enjoy the work in progress.

9. Take the opportunity to explain why you think the music works - but also be open to suggestions from the director and sound designer.  Often, the challenge may be more about finding a common language to express ideas- talking in terms of mood and emotion as well as pace, rhythm and feel- eg, do you want more of a contemporary rather than classical feel, or a combination of these ideas.  Are you thinking about certain instruments, rhythms  and sound references?  Referring to specific examples of music can really keep the conversation on track!

10. Let the director/team know you want to be part of the post-sound mix - This way, there’ll be no surprises later on, and you will have the opportunity to give your point of view in regard to any issues that come up within the mix for your music.

I’ve put most of these ideas into practice, and have found that they really help not only in developing your creative approach but also in building relationships with the rest of the crew.  Nothing helps good communication and problem resolution more than a bit of “history” together. If you have any other thoughts and experiences on building dynamic director/composer relationships, it would be great to hear them.  I would also like to thank the AFTRS staff and students who have contributed their insights and experience to this list!!

Annette Golden - Bio

Annette Golden is a composer, arranger and multi-instrumentalist currently completing a Graduate Diploma in Screen Music at the Australian Film, Television & Radio School (AFTRS).

At the beginning of 2008, Annette returned to her first love music, following a successful 10-year career in corporate law. During (and more often in spite of) her career in law, Annette maintained her enthusiasm and commitment for music by composing, performing and arranging for small ensembles, as well as playing and recording on the violin for various indie bands.  Annette also maintained her passion for musicology and world music gleaned from her earlier B.Mus. studies at the Sydney Conservatorium of Music.

Annette is now furthering her composing and music production skills, and is very keen to work with other artists and media forms including Film, TV, Theatre and Dance.  You can listen to examples of her work at www.artofobserving.com and http://musicakg.blogspot.com/ as well as www.myspace.com/annettekgolden

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