The Composer's Lair

Nine Lives Of Chloe King Impressions

2011-06-14T21:35:00.000-07:00

Caught the pilot of ABC Family's "Chloe King." I put some music up for this and was considered as composer for the show, but never made it past the initial round. Watching it now, though, I'm not so sorry I didn't get the gig. All significant emotional character beats are covered with songs - including oddly saccharine piano and vocals while learning about her shady Ukranian past.

It seems some television shows refuse to allow score to do anything except express tension, danger, and action - there's this misplaced fear that score will be "cheesy" if used at all under truly emotional moments. Its true that a poor, or a mediocre composer, may have little to offer a genuine emotional moment - ESPECIALLY in an age of emotionally devoid synthesizers. When a good composer is on board, though, they can elevate a scene to its full potential.

Its the kind of score that you know the producers came in and said "We don't want a superhero theme. Infact we don't want any themes." But this direction is misguided from the beginning; in film, a theme can be anything from a full melody to a simple, recurring motif. Whether or not the producers "want a theme" is immaterial; there MUST be repeated material in order for the score to have cohesion, just like the main characters need to have consistent wardrobes, live in the same house from episode to episode, etc.

It's the pilot; the producers are afraid of going too far in any creative direction and alienating viewers. But I certainly hope that, musically, the composer is given more of a chance to bring emotional content to the table.

2011-03-24T23:10:00.000-07:00

Caught a screening of "Sucker Punch" tonight. All in all, it was definitely a Zack Snyder film. Only he can come up with an excuse to fight nazi zombis, roobot warriors, and defuse nuclear bombs on a bullet train to hell all in the same movie. But at least it had a great soundtrack. Infact, the use of songs in the movie was perhaps the most innovative part. Rather than just plaster a song onto a scene Snyder took more control of the tunes and had the score composers (regulars Tyler Bates and his partner, Marius de Vries) score on top of and around the songs. In some cases, Bates remixed the songs completely, integrating a distorted, dull version of Bjork's "Army of Me" into a thunderous percussion bed that served as score for an intense action sequence.

It sort of reminded me how Brion remixed Beck's music in places in "Eternal Sunshine." If songs are going to be featured in a film, I must say that I greatly prefer this approach. It allows the movie to really "own" the song.

That all said, this is not my kind of movie. The action sequences ran too long, and I just didn't feel like I earned them as a viewer. Action doesn't move me unless it is tied to the plot...and thanks to the mechanics of the movie, the action is more of a metaphor than actual events, further bringing me "out" of the moment.

And it was so friggin loud. I must be getting old.

Basic Instinct

2011-01-21T23:20:00.001-08:00

I never thought I could truly love a Paul Verhoeven film until I saw Basic Instinct. THe use of music....the pacing. The false scares hat make you want to jump out of your seat and scream. Wonderful.

Jerry Goldsmith's score adds such a sense of dread to the film...you always think there is an ulterior motive at work, but then again, you also ask yourself whether the score's ominous tone is simply another red herring. Maybe Tremell IS innocent; maybe it WAS Garner.

The score functions very similarly to that of Seven - draping scenes with dread that's not nowhere to be found on screen. The main theme acts both as Catherine's theme as well as the murder theme, and we hear it in the opening scene. In a sense, the score gives away Catherine's guilt from scene 1, as we hear that same music with Catherine under almost every scene she's in. But, again, because the audience can never REALLY know if the score isn't just part of the fake out, that twinge of doubt remains.

The film's similarities to Seven also include the "buddy cup" duo assigned to the case (Nick and Gus). It's a convention that is also used in Chicago Overcoat. Their appearance is not underscored by any specific theme; infact Nick never gets a theme (perhaps he doesn't DESERVE a theme, always living in the shady of Catherine). It makes me wonder if the choice to write a Maloney theme in Chicago Overcoat was ill advised; I recall my instinct was to leave Maloney basically untouched musically. When Brian, the director, decided he wanted a Maloney theme, I wrote music that sounded like "cop" music - slightly brassy, marcato. But I could have taken a different approach - I could have remembered that, in it's essence, Chicago Overcoat is a suspense thriller. Buddy cops in suspense thrillers don't usually get happy endings. And they also aren't usually on the up and up - up and up enough, at least, to deserve a cop theme.

But I digress. Excellent film...I learned a lot from it.

Quotes from Internet Piracy

2010-12-24T23:41:00.000-08:00

I thought I would start posting quotes from folks on the topic of illegal downloading. It's something I am very passionate about, and I hope to make more commentary on this issue. For tonight, quote number one (in respsonse to Kid Rock's wonderfully sarcastic rant on the topic:)

if you download music you're just getting a copy at no expense to anyone. any artist who is against illegal downloading is not an artist at all they are a greedy fuck and should give their music career to someone who actually cares about music

So here I am, a commercial artist, trying to make a living off my work. I work full time writing music for film and tv. To get by, I live in a house with 6 other people. I drive a Hyundai Elantra that was recently keyed with the words "Don't Park So Close," and I can't afford to buy it a new paint job. I don't feel like a greedy fuck, personally. I feel like a guy working hard, trying to make enough to 1.) Eat and pay rent 2.) Eventually start a family. Does that mean greedy fuck? Am I not a true artist because I want to do art all the time? What do you think?

A misc update...no new music yet!

2010-07-22T10:51:00.000-07:00

So my grand plan of a free track a month/week has obviously gone by the wayside....life happens I guess! Had some great work come my way, including the following commercial series from microsoft:

So life is a little easier lately financially. Not COMPLETELY set...but comfortable for a while.

I'm also working on a few short films - The Small Assassin, by Ray Brarbury and directed by Chris Charles, as well as Sylvia's Spell, directed by Randy Caspersen. Listen to the waltz from Sylvia's Spell if you like (but it's not free, sorry!).

I'll have some free tracks posted soon... in the mean time, any requests (from my 3 followers ( : ) ?

Oscar Party, some music uses!

2010-03-07T22:35:00.001-08:00

One of the things about a running a blog while working in the entertainment industry is that it can find hard to find the time to update! I'll try to stay more on top of that.

Just got back from an Oscar viewing party. I won the pool ( : In general I was pretty pleased with the choices. I didn't feel Crazy Heart deserved best song, though there weren't really any worthy contenders I am very pleased that Michael Giachinno's Up won; he's already deserved it several times over, and his career is just getting started.

Some noteworthy uses of music to report, specifically two comic uses of "Foresaken Gods" by my good friends Brian Kaufman and Jessica Petrus. First, a cheese commerical.

Pastoral Cheese Store

Next, a video promo for a studio of classical conducting majors at Boston's NEC:

All I want is my music to be heard ::tear::. Thank you, thank you!

Music update coming soon...

2010-02-04T12:14:00.000-08:00

Some exciting things are happening! Some folks at a major music library took notice of my work on Smallville and Vampire Diaries, and have asked me to contribute a few tracks of Superhero / Epic music for their next CD. Its going to be a lot of fun.

This week are two more tracks from the archives...a percussive action track, and a quick little 30 second arrangement of the Charleston.

Enjoy! Please remember to always credit me and to review the terms of your free license in the music FAQ.

Track 1 - Battle for the Bridge(2:12)
Genre: Action, Superhero, Percussion
Download Zip File

Description: A percussive action track with electronic and acoustic elements, brass, and a whimsical flute solo at the end.

Track 2 - Charlie Charleston (:34)
Genre: Silent Movie, Jazz Vintage
Download Zip File

Description: A quick 30 second arrangement of the traditional Charleston dance, originally composed by James Johnson in 1923.

Free Music Kick-Off with 5 FREE TRACKS!

2010-01-26T17:39:00.000-08:00

I'm giving away free music for you to use in your work, share with your friends, or just enjoy. Normally I'll be releasing 1 or 2 tracks each couple weeks, (depending on how busy work is), but as a "kick off" to the project, I'm releasing 5 (FIVE!) tracks today.

Please use this music in your video game, short film, student film, youtube mashup, or even in your television commercial (see the Free Music FAQ).

The ONLY thing I ask from from you is that you credit me by name if you are using my music (movie, video game, etc), as well as file appropriate cue sheets (if applicable). Infact, it's part of the license agreement you enter in with me when using this music. If, for some reason, you can't credit me (tv commercial, trailer, etc) contact me to obtain a sans attribution license for a small fee. Again, be sure you read the Free Music FAQ for more info. "Be legal, NOT evil."

If you use my music, feel free to leave a comment and let me know how you used it! And if you're feeling generous, you can click the "buy me a beer" link in the left sidebar, or if you're local to Los Angeles, send me an email and we'll do hang in person.

Track 1 - LA Cowboy (2:15)
Genre: Western, Indie Rock
Download Zip File

Description: My new Melotron and Telecaster DVIs (courtesy of SoniVox), mixed with a trumpet finish and a lot of effects make up this neo-western ear-candy.

Track 2 -Swingette (1:43)
Genre: Electronica
Download Zip File

Description: Written upon the purchase of a rather odd instrument from the 1920s called a Ukelin. Sold on the premise of a "violin meets ukulele" type of folk instrument, the instrument sounds like neither and is actually more useful producing sounds appropriate for horror films (see the clips from Sea Of Darkness on my video demo page.) This track was originally written for a short film produced by Smallville's own Allison Mack!

Track 3 - Foresaken Gods, Instrumental (1:16)
Genre: Trailer Music, Action, Game Trailer, Orchestral
Download Zip File

Description: Oh you can never have too much over the top trailer music at your fingertips. Originally written as a teaser for an upcoming feature I scored, it was ultimately not used in the final promotion material. There's also a version with choir that I'll be releasing a few weeks from now, so stay tuned for that. This is all synthetic by the way.

Track 4 - Bethany's Waltz (1:14)
Genres: Traditional Waltz, Silent Film
Download Zip File

Description: A charming little waltz for solo violin, celeste, and piano. This was actually originally written for behind the scenes featurette of a horror film's fake blood and severed limb department. Oh what irony, what wit! (vomit)

Track 5: Journey On (3:40)
Genres: World Music, African, Cinematic, Upbeat Inspirational
Download Zip File

Description: This track is a medley of themes composed for a behind the scenes featurette for Smallville. It was never used in its entirety, and this marks the first time its been heard by the public. Instrumentation includes marimba, piano, strings, shakers, bass, acoustic gutiar, and CLAPPING! Plus some other guests. This track sounds a lot cheerier then I typically feel most of the time (just ask my good friend, singer/songwriter Diana Lawrence. Actually, don't. But check out her music, cuz she rocks.)

Pics and Vids from the NAMM Show

2010-01-23T21:35:00.001-08:00

Woman **attempts** to play a CONTRA BASS FLUTE. There's a reason why this instrument has not caught on...

An impromptu blue-grass band...

But the winner of the show - Batmobile with guitars on it. Holy thrashing metal, Batman!

Impressions from NAMM 2010

2010-01-17T19:52:00.000-08:00

Just got back from the 2010 NAMM show. It was a rather overwhelming experience, both inspiring as well as intimidating. Inspiring because as I approached a booth I would grow excited, my brain would race with ideas and applications for a new program for software instrument. As I picked up a series of ukuleles, I was excited that I had strong opinions over the feel and sound of each of them. But then there is the reality that, wow, all this music gear costs money! But in music as in any other business, one has to spend money to make money. Some takeaways:

1.) I finally had a chance to play around with PROJECT SAM's Symphobia. While not an end all solution by an means, I think it is an essential purchase for performing well in both the demo stages of getting a gig as well as in the final mix of a score to beef up some sections that may have fallen short during a recording.

2.) I'm likely going to switch to MOTU Digital Performer as my primary sequencer; it contains several features catered to film composers, and treats audio and routing very similar to the manner audio is treated in Pro Tools. Pro Tools gets better all of the time, but it still has too many kinks to work out. Logic, however, is like speaking another language, and I can't wrap my head around it.

3.) I need a new ukulele! I play tested several by Ohana and fell in love with this one:

And at only $130, it's a great value too.

Seeing all that music happening around me - and being in a convention hall in which DJs, trombone players, film composers and accordionists all had a common purpose - really re-ignited the flame inside me.

2009-12-04T00:44:00.000-08:00

Tonight I was privileged to be a guest of Christina Johnson and the Kronos Quartet at the premiere of a new work by Thomas Newman. Entitled "It Got Dark," the piece was programmed on a concert series entitled "Left Coast / West Coast" curated by well
known minimalist composer John Adams.

"It Got Dark" was summed up succinctly to me by Kronos Quartet cellist Jeff Ziegler as a series of musical postcards. Like Newman's scores, these aural vignettes said only what was necessary. The work dripped with honest, simple writing. Pre-recorded electronics were used in most of the movements, featuring a few of the gorgeous and intricate pads we're used to hearing in Newman's scores. The Kronos quartet, amplified and situated in front of the orchestra, covered the more flashy and improvisatory lines and occasionally played off the orchestra in a concerto like interplay.

The piece also integrated some spoken word, but it was so sparsely used that it felt a little like an afterthought. Infact, the first entrance of spoken text surprised me so much that I thought it might have been triggered incorrectly (a possibility given that this was a premiere), as did some ambient recordings of dixieland bands that softly accompanied a movement. The appearance of these elements signified the use of a strong program to structure the work, which isn't surprising given Newman's background as a film composer. But as a listener without a strong sense of what that program was, I felt a little lost.

It's always interesting to me to hear a composer a bit out of his element. Newman's scores are iconic, singular entries into the world of film music that have pushed the craft forward into new directions. In a sense, its unfair to hold his concert work up to the same standard, particularly in that concert music has a whole has so little room left to grow. Ultimately, I appreciate the piece for what it is - small, intimate musical musings on the beauty around him that doesn't need to push boundaries. All it needs is to have emerged from the brain of Thomas Newman.

2009-08-24T00:47:00.000-07:00

Three composers - myself, Michale Beach, and Igor Nemirovsky - met tonight to view some of our mutual work. It was a great! Great to see where are mutual strengths were, to see projects that may not see the light of day but illustrate something we've done musically that may be different or off the beaten path.

It was also re-assuring to see that we all had certain weaknesses, certain insecurities about our work, doubts about the future. Igor yearns for music of a differert era, where the orchestra reigned supreme rather then being shrugged off as "generic." Michael works under the shadow of an amazing composer, unable to write anything new. I struggle with fundamental questions such as what is my musical identiy; wondering if I truly have anything original to say, and whether scoring is the right career choice.

Composers essentially work alone, and are typically very competitive in fighting for the scraps of work that are out there. There is no union; the SCL is fantastic for the most part yet not out of reach of industry politics. All reasons for why meetings like this should happen more often.

Thoughts on Bear's Season 4 soundtrack (my Amazon / iTunes review posted here)

2009-08-06T10:00:00.000-07:00

As a composer myself, I am consistently in awe with the work Bear is doing. He has had considerable influence on my own writing, and I believe on scoring for film/TV in general. On a (relatively) shoe string budget Bear is writing/producing scores that rival the best work of Zimmer in terms of production quality, and exceed much of it in terms of musical content. The Season 4 score is no exception; production quality is stellar, and the musical territory covered continues to break new and inspiring ground.

I don't want to repeat the praise already flung at Bear from other reviews but raise a few more points. First, I've noticed a few comparisons to John Williams' Star Wars score - some are saying they are on par with eachother, some are saying Bear has "exceeded" Williams' work. This is ultimately an unfair comparison between what is essentially apples and oranges; BSG and Star Wars represent two distinct visions and approaches to Sci-Fi, with very little in common with eachother. Williams and McCreary's approaches are equally distinct. Therefore, the scores by Williams and McCreary ought not to be butted up against one another to determine which is "better," but held in equal regard as examples of high achievement in different areas of the genre.

The other point I wanted to make is basically a "thank you" to the producers of Galactica for "allowing" this music to be written. There seems to be a sense that McCreary is the only composer who ever wanted to take musical risks with a series or film, and I feel this perception discredits composers who simply weren't given the opportunity to let their talent fully show. Most composers do infact get into the business looking to take creative risks and cover new ground, only to have those ideals slowly squeezed out of them with extremely low pay, little to no desire to spend extra money on live musicians, refusal from production companies to work with the musicians union, and a general lack of knowledge/appreciation for the considerable added value a score can add to a production. This is not to say that some folks tried; I happen to know personally that Bear had to fight very hard for many of the creative strides that were made, and credit must be given Bear for having so much integrity and background. But ultimately, composers' work lives or dies at the whims of the producers, and we ultimately owe THEM a huge thank you for giving Bear the freedom to take so many creative risks.

2009-07-27T22:05:00.000-07:00

Today I bought a MUSIC BOX SET from the always wonderful Museum of Jurassic Technology which will allow me to punch and perform my own compositions! The reason, besides being super cool? Well, I am currently working on a little cartoon pilot for the boys over at 3to1 Films, in which their main villain laments his wife death while holding a music box.