On Music In Film

Film is an abundant, multitudinous art form which contains, in discrete and discerning fashion ALL art forms. In this respect, the layers and routings of narrative structure have all expressive art forms as realms unto the realm of an emotional, spiritual, political, resolute human statement. That, of course, in the director's idiom to achieve the efficient end of purposeful, resonant and effective storytelling. All comprising elements, including music, and choices therein should be deliberate and poised to contribute to the story beats, and the larger arching phrase, with flexibility to accommodate emerging discoveries and remedy potential obstacles along the way. As a composer, I prefer a collaboration that starts before anything is seen or heard, to discuss tone, tilt and comparative reference works. As with all collaborative projects, each project progresses in its own distinctive, and ultimately unique fashion. Music and sound design, as one of these many elements, its presence or absence, tone, mood, texture and its place in the aural mix is as crucial and important as any other in the long list of artful aspects that comprise the whole work. I do believe, as an aside, that storytelling in film is, first and foremost, a visual medium. Many endemic decisions are simple ones in light (!) of that fact.