Ridley Scott has been quoted as saying that he wanted a much different ending for the original Alien. In said ending, the xenomorph would kill Ripley, sit down in her chair and start reciting a distress call. The original script had the alien as a horrible wormlike thing with loads of tentacles and legs instead of the phallic Giger design we all know and love. Giger's doubts about his first design were confirmed when Ridley Scott fell about laughing at the sight of the prototype Chestburster, describing it as "like a plucked turkey", and Roger Dicken ended up retooling it to resemble the now classic design.
The resulting suite is then used by the editors during the editing of the film and becomes a guide to the composer.
It seemed also a great way to build your relationship with the director and the picture over time rather than rushing at the end, and to have the music grown into an organic, integral part of the film.
Instead of a suite I began writing ideas of various lengths and sending them along for his feedback while he was shooting the picture and while he was editing. This way we were building a collection of favourite themes that he started integrating into the first assembly of the film.
Jonathan loved many of the themes, as I did. But once I saw them in the film, with the film: I felt that whole layers of meaning were absent from the pieces, and the themes were quite scene-specific, that they could not be used in multiple scenes in order to give a sense of architecture to the score.
Jonathan was happy, but I felt I could do better.
Now, at this point I should say this: That is exactly what I had done up until now. And so I ended up putting all those themes aside and starting with a clean slate.
I watched the film without music and approached it as if for the first time, looking to build thematic connections and creating themes that could be a bridge between different scenes that could have multiple layers of meaning that had a specific story-telling goal to play in the film and all that good stuff.
So in the end, for me and for this particular film, seeing the film was crucial for me to really get the music right. Every single note I wrote before that went unused. Does that mean that the John Williams approach is better than writing a suite sight-unseen the Zimmer way? And perhaps it depends on the musical genre being used — and that the minimalist, ostinato-driven music is best for this?
What do you think? One thing is for sure is that I was able to avoid ALL the temp track and that Jonathan fully approved my wanting to find an even better music story-telling approach for the score, so all turned out great! Listen to some of the score below. Coming out on CD soon. There are three characters in this scene: Tim, his father and his mother.
It is not a loud scene, although there is some screaming at the start, and at one point the sound drops out entirely and it is only music and visuals. On the surface, the most obvious choice would have been to score the sadness of the scene, and perhaps to score it gently in order to avoid making it trite or overly dramatic.
You guessed it… POV. Every shot and angle the director chose supported this.
And thinking about the events from her perspective I realized she would not be feeling a quiet sadness, but rather a guttural pain, an overwhelming sadness, a silent scream…or perhaps not so silent as the scene does indeed end with her crying and screaming off-screen.
This is not meant to sound like an actual scream of course, but more musically stylized. Here is part of the resulting cue. Alain is a film composer, orchestrator and amateur cook.
You can find more information on his site here.most of the film's music is extradiegetic, some of it intradiegetic most cues play themselves out completely - long melodies, moderate pace, rounded - default mode of film - careful and slow melody underscores careful and slow journey John is on - counterscoring by going against genre.
International Association for the Study of Dreams is a non-profit (C)(3) research and education organization. The specific purpose of this corporation is to promote scientific research into the study of dreams and to provide an educational forum for the interdisciplinary exchange of such information among the scientific and professional community and the general public.
Phoenix, Arizona. – Jesse Jones had the deck stacked against him at the recent SCORE Tecate Baja “We lost first gear in the transmission right out of the gate during qualifying,” Jones shared.
Reviews of film DVDs, including Chaplin, Antonioni and the Marx Brothers. A film score (also sometimes called background score, background music, film soundtrack, film music, or incidental music) is original music written specifically to accompany a film.
The technology used for creation, synching, producing film music has come a long long way from using click tracks, cigarette burns in the film and multiple takes. In the end, it is still the question of "what is going on, and how does it feel, on the outside and on the inside" then how does one convey that musically.