![]() ![]() Speaking of that example above, if you go ahead and illustrate your intentions like: “I want the music to feel really sad here, like the main character, who has been pushed down to the ground by his girlfriend who left him and he doesn’t know how to get up again. The most ideal way to talk to composers is to give them a detailed description of what you want to feel. ![]() If you don’t know 100% what you are talking about when using musical terms, avoid them. If you say something like “I’d love to have a very sad piece of music here, like this music piece X I know, in minor, you know!” your composer might go ahead and write something in minor but when actually, what you loved about piece X was the fact that it incorporated a very melancholical solo cello and the fact that it was in minor was just a secondary reason why you liked it.” you might derail the discussion about these things and one draft of the cue might be written and time unneccessarily spent until you realize that what you asked for was not exactly what you wanted. The problems here are obviously that you might not neccessarily give the right direction with that. When communicating with your composer, unless you really know a lot about music, you should avoid musical terms. These kind of working relationships usually are the most effective ones that also create the best results. Usually, the best working conditions for a composer is to have a certain guide and a certain idea that comes from the director/producer and at the same time having enough freedom to bring in own ideas and solutions for filmic and musical problems. On the other hand, it feels very uncomfortable as well for a composer to constantly feeling pushed by an overly picky director/producer who request for things that they not neccessarily have a full understanding of. This puts one rather in the situation of sitting in front of a white blank canvas, wondering about what to put there. It is NOT the most comfortable situation for a composer when he/she’s been told “Well, I don’t know, just do your thing.” and getting complete artistic freedom over the music. As a director/producer, you should have a rather clear vision about what you want the music to do.
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