No, seriously, last night, I dreamed about being at the CBC recording studios here in Vancouver in the big orchestral recording room. Which is kind of cool in that it was the feature I’m scoring and seemed to get an increased budget to afford a real orchestra.
It quickly got kind of weird and turned into sort of a bad dream …
It was the first time that the director had heard the music. The cue was called “Nine Inch Nails Mashup” – which, in the dream, I realized wasn’t at all the direction that he’d given me. To pile on more odd things, my old scoring teacher, Hummie Mann of the Pacific Northwest Film Scoring Program, was there to hear my stuff.
I felt as though I was doing a fantastic job at conducting during warm-up run-throughs, but the booth wasn’t starting anything. I went back into the control room and found that I hadn’t included the click-track in the bed tracks.
Panic ensued … and then the alarm went off.
Back to Reality
So, yesterday, I edited the Spotting Notes and the Master Marker File to match up and sent off the revisions to the director.
We ended up shaving about five minutes off of the 45 I’d initially suggested. Some cues got cut outright, while others got shortened or lengthened.
I think one of the fun things about spotting cues and planning out the whole musical layout of a film is naming the cues. The director has a pretty good sense of humour, so having some goofy names or double-meanings in the cue names was not out of the question.
I also got down to organizing the scoring template for the project – picking out instruments and setting up channel strip settings for the project. So far, it’s got piano, harp, a woodwind section and string section. I think some brass might work – perhaps a solo trumpet and french horns and possibly a smaller percussion section.
I also was able to take a first crack at the opening titles piece. I’ll see if I can find some of the previous cues I tried to pass by the director before I got the film – the direction I’m going right now is totally different than the ones before. I think it’ll be safe to “release” those as they’re not going to be used in this film.
I sent off the direction to him last night to get his reaction – no response yet. It’s got purely orchestral instruments, but I’m thinking of adding some subtle synth elements so as to not have an entirely “Disneyesque” sound.