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Posted: |
Jul 13, 2014 - 6:14 AM
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By: |
johnbijl
(Member)
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Of course with animation it starts with the lyrics which the composer usually doesn't write. Then it moves onto timing sheets and storyboards which plan out the length of the scene. The composer has the script, storyboards, (sometimes incomplete) and timing sheets as a guide for creating the music.
You're right, of course. But isn't the proces of timing and storyboarding then also a proces where the composer is involved in? And doesn't that differs from, say, Conti composing Escape to Victory and getting to see the finished film six weeks before it's release and only meeting the director during spotting?
I'm pretty sure Steven Spielberg had JW's write music for Close Encounters before major sequences were even filmed and Spielberg cut his movie to William's music. Other times when a live action film requires a lot of post production special effects work, the composer must again rely on script, animatics and storyboards for writing large sections of the soundtrack without seeing the final cut of the film.
I didn't knew that Close Encounters example. I know that Spielberg re-cut the 'over the moon'-sequence to accommodate Williams' score.
And as Matt S. pointed out, there are more examples outside of animation. Jarre and Weir worked on composing and recording the score before the filming of Mosquito Coast began (they used the music on set, and intended to use it in the film as well). Although Jarre ended up re-composing the music after the film was finished. Same can perhaps be said of Horner's Avatar. The composer started working on the film a year before filming. But I'm sure nothing definitive was composed well after the shooting was done.
Both cases seem less... restricted a proces as having to compose songs before anything is shot. Or rather: drawn. (And I think we should consider Matt's Mr. Holland's example as part of this.)
Any more thoughts on this?
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) something occurred to me. Large chunks of Zimmer's score had to be written well before there was a finished film. Tracks like Deliver Us and All I Ever Wanted are not just songs or score: they're both. They had to be composed *and* recorded before the animation started. For lip syncing, of course, but also in tone and intonation. 