Tue, 12/02/2008 - 19:08 — carolina
It's been so great to see Sally evolve as a music (appreciator? critic? I'm not sure) over all her projects. I first really noticed her grasp of music in The Tango Lesson and then of course it's a big part of The Man Who Cried. It was interesting to see how she reacted to Bizet's compositions in Carmen as well.
It seems to me she's the British auteur most married to music in film, and her films are very much shaped by the music she chooses. I wonder where she'll go next? She had some electronic composition done for Orlando, didn't she...?
I am interested in how someone like Sally gets to choose what tracks go where. If you have a very thorough catalogue of music in your head I guess that would make it easier - but I'm sure there is a very real and difficult challenge to find pieces that fit a scene. I often point my students to film scores as they so graphically demostrate what is achieved through music and it's support of image. Or prehaps how an image creates the motive for the music - or the motive to write rather than take an existing piece.
Does anyone have a pointer to how a film maker structures or creates their approach to building the soundtrack?