How to Make Music Match Your Movie – Secrets of a Music Supervisor and Movie Composer

So he has finally set up an excellent stage, a team, and even has activated some of his scenes. Start thinking about post-production, editing and the finishing touches on your movie … and what, what is music? Should you hire a composer? What about a music supervisor? What to do?

Many filmmakers are in this position. As is clear from the visit of a panel or workshop of the film industry, there is inevitably someone who finished 90%, but still not think about where to get music, or notes or songs and original soundtracks with personalized license.

So in that spirit, here is a brief description of how to match the music with your movie.

1) Who is the audience?

Who saw that watching his movie. The more its orientation is optimal. Do not tell anyone. To really think that he wants most and even others, to promote and evangelize his excellent work. It is his death and his main audience. After all, creating something about the connection with your audience. Who is your audience?

2) What emotion do you want to convey?

The music is fresh in that it is invisible and yet so powerful. It’s like the magicians master weapon communicators. Just look at the advertising industry. 99% of the 30-second TV ads have music or an improved sound design shape acting like music. Music is bringing the excitement. It does not go through the logical and sensible left brain and goes straight to the heart of emotion. You would not see people crying in movies without music – guaranteed. You can try this experiment at home. Watch a horror movie or a thriller and turn it down or even mute the sound. Do not hop in your seat. In fact, this is a great test. Turn a movie like Friday the 13th with the sound off. Then spin on a CD of something like Django Rheinhardt or Dixieland swing or anything of that Katrina & the Waves & “Walking on Sunshine” song. Very interesting juxtaposition. And that’s what music supervisors and composers do all the time. They think about what is the stage of background and the whole arc of the film and combine musically.

3) Limit your universe.

Now you have to limit the choice of music / emotion that you want to communicate. In a scene by scene list, you can start typing keywords. For a suspense movie, you may want to write words like fear, anxiety. There has to be a release of tension somewhere else. By creating this list before the follow-up session, you have a way to communicate with your team, be it your editor, composer, producer, music supervisor, etc. The exploration session is where you look at the movie scene by scene and talk about music should be, and, equally importantly, where there was no music.

4) It’s all about the calendar

The beautiful great film composer Jerry Goldsmith said, “This is the calendar.” 80% of the work is done by matching the tempo of the scene. This is starting to be quite specific and each composer and music supervisor will have their own creation, but in general there is a fixed rate on a scene based on the changes and the general context of where we are in history.