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3 items from 2010

Alain Mayrand: Are You Any Good?

7 December 2010 6:30 AM, PST | SCOREcastOnline.com | See recent SCOREcastOnline.com news »

What is the secret to success as a film composer? We all talk about networking, internet promotion, social networks, building your image, people skills, getting press, websites, gear, DAWs, sample libraries—all of these are important, but dependent on one thing: the quality and uniqueness of your work. If your music is mediocre, if it sounds like every other bloke out there with a drive full of VSTs, then all of your marketing efforts won’t matter much.

As you know, for better and for worse, the barrier to entry into film scoring has been lowered. With a few pieces of software you now have all the tools to create a complete film score. The downside is that people no longer need to know how to read or write music, be proficient at their instrument, or have a true knowledge of orchestration. Is that bad? Not in itself, but the »

- Alain Mayrand

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All Due Respect to The Maestro

9 November 2010 4:00 AM, PST | SCOREcastOnline.com | See recent SCOREcastOnline.com news »

Here is a simple fact: None of us are the same.

I’ll never have to worry about competing with John Williams. I know what you are thinking: “No shit!”

No, I mean it. John Williams will never sound like I can. He’s not able. You might say, “Um, Deane, excuse me, but John Williams is arguably the single greatest composer living today. He can do anything.” To which I respond, “Yes he is… and no he cannot.”

John Williams can never be Deane Ogden, or James Newton Howard, or Alain Mayrand, or John Debney, or Brian Ralston, or Alexandre Desplat, or Sharon Farber, or Chris Young, or Adrian Ellis, or Hans Zimmer, or Brian Satterwhite, or Richard Bellis, or Tim Montijo, or Alan Silvestri. As long as he has written for the screen, as hard as he might try, as much as he may study, he’ll never get there. »

- Deane Ogden

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Alain Mayrand: Spotting Form

15 March 2010 6:30 AM, PDT | SCOREcastOnline.com | See recent SCOREcastOnline.com news »

Spotting is the art of putting the music in the right place in the film and it an intrinsic part of being a good film composer. Spotting is about many things, such as mood and tone and musical style, but an often overlooked aspect is form.

The music you put and don’t put in a film will affect the pacing of the film, its architecture.  For you to do this well demands a solid understanding of story, screen writing, film’s unique visual language and the brains and experience to apply that knowledge to the unique film you are working on.

More... after the jump!

The spotting session is where you discuss the film with the director and make the initial decisions about placement and function of music in the film.

But spotting should begin before that meeting. Do your homework, watch the film and come to the spotting session prepared. »

- noreply@blogger.com (SCOREcast Admin)

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3 items from 2010

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