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Director, Supervisor, RON discussed on Slate's Working



Get get him to actually make these sort of translation do these translations and then practice them and learn them so we recorded them so he would serve work them out and then have them to practice with and then in the film. They're basically they're done live on on camera and that's how that happened happened kind of leads me to another question which is how do you decide when you're going to be using pop songs prerecorded music and windy say we i need to put in a natural score. That's part of the process of of of making a movie and and and sort of in process and post production you know sometimes it's. It's you at a certain point. You have to sort of figure out okay. What would this original music score. What would it sound like you know once it really meant to do and then there's a a process where you go and you what's called. Spotting is that you go through the movie and you say okay. This is score goes. This year score goes here. Let's try some score here. You know this is obviously a song moment and then there are moments in terms of where work the music supervisor and the and the composer you might compete for a spot and it's not as as sort of dastardly as sort of like well look you know a song might work here or actually actually could be better served by song so let's see let's let's let's try both and see see how things work when we take a step back and look at the <hes> the the the film total or get a more comprehensive view of it you know sometimes a piece of music works when you look at a scene on its own and then when you look at it in a in a longer ron or in when you watch the whole movies that you know what there's chewed the songs are beginning to knock against each other in a way that's unsettling laying or not satisfying or not great or <hes> you know and so it evolves you know sometimes a piece of music comes out. It comes back back. You know you figure out a piece of music that all of a sudden you'd think it's this is really feels like our movie but we need to find another place for it or not or their songs alongs that felt like our felt like movie but just never did find a place for it so your process with with west is really <hes> deeply embedded in natural creation of the movie right. Are there other directors who just sort of call you in at the end and say you know i have to i have to add sound or actually i mean i you know i would say over the course. I would say once a year. Probably there's a movie that i get a call that they've been working on the music in the film and they just don't they can't crack it or were. It doesn't feel right and you know. I get invited in to try to help sort it out or help them land on on a strategy your fix at that point yeah i mean you know sometimes what happens is that people just get really. They get too close to it where they can't see it. You you know <hes>. Do you ever have to like convince a director that they need to take out there like pet favorite from the like something they've been wanting to put to you know in very with varying degrees of success you know but i think that's something that i always say that you know people. Most people think that they're really good. Drivers and most people think they have really good taste in music and and i think that people do have good taste in music but but they sometimes can't see how a song is really impacting their story. You know and it's like they're. They're movies that i would say a that. I i feel like oh the directors just using his favorite songs and as much as their important to him or vital to the storytelling or actually actually you their situation say like oh. The director definitely has lived in this period of time and these were the songs that he was listening he or she was listening into at this specific moment of time and so there's an authenticity to it right but it doesn't have at least to my eyes and ears doesn't have the emotional impact..

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