I attend a monthly documentary club in the Twin Cities, where directors screen their works-in-progress. When Kyle Whitney shared his footage of interviews with nuclear bomb survivors in Japan, my jaw dropped at these stories he captured.
How does a composer write music that doesn't draw attention to itself? How can a director convey scoring ideas if they're not a musician? Why is temp music important for an editor? When should sound design reflect the real world, and when should it be from a character's psychological perspective? Will the dialogue editor choose the lavalier or boom mic recording, or both?
These are just a few of the conversation-sparking questions we discuss in today's Composer Quest podcast episode (the season six finale!), featuring the team behind the upcoming film Twin Cities. You'll get to hear perspectives on film sound from a director/writer (David Ash), producer/editor (Jason P. Schumacher), sound designer (Mike Hallenbeck), and composer (me). We dissect the entire post-production sound process, from a spotting session with all four of us, to our experimental on-the-spot scoring session, which was very productive and slightly nerve-racking for me as the composer.
Tommy Kraft has been "living under a bridge" in order to finish his passion project, the feature-length Star Trek film Horizon. He's doing almost everything himself: directing, writing, editing, composing, visual effects, and even making the costumes. The film is Tommy's ode to the Enterprise TV series, which played an important role in his life by helping him sort through his struggle with depression. In this episode of Composer Quest, I talk with Tommy about his approach to scoring Horizon, and he shares words of wisdom on running a Kickstarter and producing a large creative project.
My friends at MNKINO and I have been organizing a night of new short films with original scores. We teamed up filmmakers and composers from around the world to collaborate. The most exciting part is that we've assembled an orchestra to play these scores live at the film screening.
The MNKINO filmmaking group and the Composer Quest podcast are teaming up to bring you a fun challenge for the summer. Filmmakers will make short films, composers will write scores for them, and the Composer Quest Orchestra will perform these scores live along with the films. If you're a composer or filmmaker, sign up below, and I'll be in touch with more details!
Minnesota filmmaker Elliot Diviney taught himself to compose film scores to lighten the budget in his money-sucking filmmaking habit. In episode 35 of Composer Quest, Elliot and I talk about his newest political satire musical Problem Solving the Republic, inspired by South Park creators Trey Parker and Matt Stone. We also talk about some famous movie scores. See if you can guess these pieces of trivia before they come up in our conversation.