Articles by Adrian Ellis

Anyone who is involved in the arts will be more than familiar with the standard, form rejection letters that are sent out once the juries have made their decisions and awarded the money, or offered a slot to someone in a fest, etc.  I think there is a prerequisite for anyone in this industry to have a pretty thick hide, because rejection is so common that it’s practically expected.  That said, I find the wording on these letters humorous, because they have to say something the recipient doesn’t want to hear, but dressed in a way that tries to make them feel as good about it as they can.  Isn’t it funny how they always say they got more applications than ever before, that they were so impressed by the strength of the applications (including yours – yay!) and that because of this, the decision was ever so difficult!

Just once I’d like to see:

Dear Applicant,

We’d love to thank you for your application to Big Thing, but really, your submission was an abysmal disappointment.  Really? You thought you had a chance with that drivel?  Your piece fails on every level: it is an affront to good taste, an act of treachery against Art itself.

At any rate, we’ve come to our decision.  It really came down to one barely passable submission which did not make the jury vomit in disgust, but even then it was close.  It appears our efforts to market this opportunity fell short, because hardly anyone applied and the ones who did were truly just the worst, bottom-feeding, talentless group of hacks we’ve ever had to displeasure of reviewing.  What a waste of time.  In fact, the decision was so clear that we were done by the end of the first afternoon and blew the rest of the allotted time getting slobbering drunk in an effort to erase the horrible memory of having to consider the submissions.

We hope that our rejection becomes a catalyst which will culminate in a decision to quit pursuing your work in any capacity, for the love of humankind.  Please stop.  If you do decide to continue, we hope you fall into a state of miserable poverty so extreme it forces to pursue other avenues of expression, such as begging under an overpass while doing a sad, shuffling dance or something.

Worst,

The Committee Responsible for Making Decisions

What is film music?

When Emmy Award winning composer and educator Richard Bellis talks about a common error of new composers, he cautions that they should not score their impression of a scene, as this is redundant.   Rather, the music should say what the scene isn’t saying or cannot say.  This impressionistic tendency is also something which inexperienced filmmakers request.  If you have a sad scene, and you simply throw in sad music, or a funny scene and you have funny music aping the action,  the result will often be very amateurish and unsophisticated, because the music is not fulfilling a necessary purpose.  If music can be thought of as another character in a film, imagine an off-screen actor parroting the on-screen actor’s lines verbatim.  What use is that?  Does that further the objectives of the work?

Let’s go back, waaay back… ok, not that far…

One way to begin thinking about the sometimes complex and subtle function of film music is to consider it’s functional history.   Again, I have to credit Bellis for this concise way of looking at it.

The first role of music was fairly utilitarian – to cover up the noise coming from the projector in the theater.  Any music would do, and was performed by a pianist at the front of the theatre.  It had no relation to the action on screen.

Once projector was moved to the booth, music started to be used in silent films to fill in for sound and dialogue, and began to relate to on-screen action, though most of the music was either standard classical repertoire or even improvised on the spot.

When the “talkies” arrived, music provided color and scope for black and white films.  Once technicolor arrived, music stood in for all the sex and special effects that could not be shown, due to censorship or technical limitations.

Now that we can show sex scenes in living color while talking CGI dinosaurs stomp through the ruins of a city with no projector noise to ruin the fun, the role of music has become very subtle.

Play it against, Sam…

I like to think of music as being an emotional alchemical substance.  It’s the medium that can translate emotion and also turn it to gold – something bigger than the mundane; profound and powerful.  It can also be whispering the secret lives of the story and the characters.

I recently had a great conversation with a filmmaker after a panel on music in film.  She wanted my advice on what kind of music to have to support a specific scene in her film.  The character had just undergone a hugely traumatic incident, and suddenly runs out of the apartment and into the streets, as if to escape events, even life itself.  She imagined a very powerful drumming, something huge and driving to underscore the events.  I wondered if this was the best approach – wasn’t that simply a re-statement of what was already on-screen?  I argued instead that the music should speak to what the audience cannot see or hear – that this is a very personal, emotional moment, but that to one person, it will feel like the biggest thing that has ever happened.  The music might then, instead, be intimate and tragic.  This would contrast against the violent physicality of running away, and connect the audience to the emotional story of what is happening.

I like this example because it shows how music can change the way a visceral scene is perceived by the audience by playing against the action, and getting to the ‘heart’ of the story.

Whatchoo talkin’ bout, Bruce Willis?

The question that is asked, in order to really understand the problem, is: “Who or what is the scene really about?”.  Again, if music is another character in the film, then the spotting session is like a table read for the actors.  You are finding the motivation.  It’s thematic, story and character driven.  In a chase scene, you don’t tell the actor “Ok, this is the chase, so act like you are being chased!”.  No – the director and actor determine the reason they are running away and that’s what drives the action of the chase.  Music does the same; while you see the actor running, the music (for example) might give the audience a look into their mind, motivation, emotions.

In the next installment, I’ll explore ‘the moment’ – when and how music can successfuly get in and out of a scene.

Out With Dad Banner

I’m thrilled to have worked with my good friend Jason Leaver on the first season of his new web series, Out With Dad.  It’s got a wonderful cast, a great script, and was truly a labour of love for all involved.  Despite being made on a micro-budget, the production values are very high and I wanted to bring the same attention to detail and life to the score.  I was lucky enough to enlist the help of some talented musician friends to help realize the score.  You can watch episodes of this excellent show and read my more detailed production blog at www.outwithdad.com!

Classy Chassis Car Show – Photo by Jay Lee (baldheretic)

Recently, I had a meeting with a composer friend who had recently set up a drum kit in his studio.  We wanted to make a casual night of experimenting with mic placement, to see what kind of sounds we could get with his set up.  For non-studio geeks this all sounds pretty academic and dry, so while I was explaining to another friend what I was up to that night, I realized I could use an analogy based on her interest in photography: “It’s like lighting a scene”, I said, “the drum kit is our subject, and we are experimenting with different mic positions, just as you would have different lighting setups in a photo shoot.”  It then struck me that you can actually draw pretty compelling analogies across the board between Film and Music.

Lighting = Microphones: moving microphones around changes the ’scene’ and how it’s perceived in a similar fashion to lighting in film.

Camera = Microphones + Mixing board/Recording device: the mic’s act as the lens of the camera, and the film stock/digital capture is like the recording device that captures the performance, be it analog tape or digital.

Set/Location = Studio/Reverb: the set is the environment which is captured, in which the performances live, and so it is with the recording studio.  Alternately, ’spaces’ can be created using reverbs after the performance is captured.

Actors = Musicians: Actors interpret the screenplay, musicians the musical score.  Actors use their bodies and voices to create the performance, musicians use their bodies and their instruments.  Similarly, Voice/Dialogue = Instruments/Music.

Script = Musical Score, and Screenwriter = Composer

Director = Composer/Conductor: the analog of the director’s job may get split on the scoring stage, where the conductor may not be the composer.  However, the conductor is working to realize the composer’s vision, and thus might be seen as an Assistant Director.

D.O.P. = Scoring Engineer: the D.O.P. controls how the scene will be captured and how it will look – the Scoring Engineer provides the same service using microphones, a mixing board, and recording medium.

CGI = Samples/Synthesis: both are simulations of reality, but are intended to elicit the same emotion from the audience as would an ‘organic’ source.

And here we come to an interesting point.

There is a problem with my last analog.

In order to understand this, we have to understand how a sample works.  Sampling is primarily used in the world of film/media scoring to re-produce the sounds of instruments which a production may not have the time or money to afford.  The most common are used in place of the symphonic orchestra, and lately to replace performances of rare/unusual or so-called ‘ethnic’ instruments – such as the Duduk, which has become very popular, but for which competent players are both hard to find and expensive to hire.  Instead, a sample library is created by a company, which hires a player and/or ensemble to be recorded playing individual notes through all dynamic ranges, with as many effects and nuances as possible.  These are then programmed for one or more commercially available ’samplers’ – devices (hardware or software) used to trigger these sounds using a keyboard or other MIDI device.  There are often layers to each note,  so if I load a brass section sample, and hit the key softly, it will trigger the sample of the section playing that note softely.  If I hit it harder, the corresponding louder, fuller, brassier sounding sample is triggered.  You can see the implications – with a professional rig and sample libraries I can create, for a much smaller cost, a score consisting of a full orchestra, 100 person choir, and a Taiko drum ensemble, which will sound very much like the real thing.  Almost.

So whazza problem?

Since we are looking at analogs, imagine this.  A filmmaker is creating a CGI set for her film, so she accesses her ’sample library’ of set pieces.  She looks at an apartment block, a rural scene (with an option ‘gently flowing river’ plug-in), and from a more exotic location package, the ‘Downtown Tokyo’ sample.  Drag and drop, bam – there’s her scene.   Then, it’s to the ‘Actors’ folder, where she finds ‘Hollywood Hunks’ and chooses number 6  of the set a 8.  This one is a brilliantly recorded sample of Brad Pitt, and has 168 facial expression layers and 97 ‘physical actions’, and a full range of syllables and consonants, allowing for the construction of any dialogue, in a range of emotional states (Brad-mad, Brad-sad, and Brad-glad).  She continues this way until she is ready to start ’sequencing’ her film, adding in her script with it’s dialogue and actions.

If every film was made this way, we would eventually be looking at the same ’samples’ of everything.  There would be no nuance, no dynamics, no edge, no life.  It would be a pre-packaged, slickly packaged and homogeneous mass – the same Pitt-sample with the same Tokyo-background sample saying it’s dialogue with the same pre-determined range of inflections.   Sure, many films use the standard stock footage of the New York fly-over to establish location, but we are talking about what amounts to an entire film made only of stock footage and stock acting.

No filmmaker I know of would accept this, and yet, more and more, music made of  ’samples’ is accepted as fulfilling its important role as an emotional alchemical substance in film and media.

The Challenge

There are, of course,  reasons why this situation exists, primarily having to do with time and money.  But is this good enough?  I think that we all need to begin to think more creatively about how we work, and what we produce.  We need to begin imagining situations where it is both financially and within the constraints of time, possible to make supporting musical products which fulfill and exceed their requirements, and which have a real, tangible, unique, and effective signature.  Everyone is copying everyone elses copy of something – we need to do better.  Not every film needs a gigantic orchestral score that it may not be able to afford – can the same emotional goals be achieved using a different method?  I strongly believe they can – and it will be to everyone’s advantage.  There are ways of working quickly and cost-effectively to deliver music which will add tremendous value to the production – a unique proposition to the filmmaker who receives a score that works, and sounds unlike any other.

Late July Session at Q Music

Producing. One of the least understood gigs in the music world.  Just what is a producer, and what is their role in the making of music?

Definitely, maybe…

First, let’s get some definitions out of the way.  Although they share the same title, a Film Producer has very little in common with a Music Producer.  A Film Producer “is someone who creates the scenes and conditions for making movies.. [he/she]  initiates, co-ordinates, supervises and controls matters such as fund-raising, hiring key personnel and arranging for distributors.”  Film producers rarely have a whole lot of creative control – this is the realm of the Film Director.

A Music Producer has a lot more creative influence on a project, but the amount that a producer can affect the end result of a musical product can vary a lot.  Simply put, a producers job is to take the raw materials rendered by the artist to the point before recording begins, and help guide the shape of how those are turned into a final, coherent, artistic form.  Their role is generally collaborative, working alongside the artist (and sometimes the label) to best represent their vision.  A producer might also serve as an intermediary/advocate between the artist and the label, attempting to move a project to a point where both parties are happy with the results.  Producers should see the project from both perspectives – the artists vision, and the requirements of producing something that will be accessible and ultimately critically and fiscally successful.  The producer aims for balance.

So, what exactly does a producer DO?

Here is a shortlist of some of the hands-on work a producer might engage in.  I’ve kept this to the confines of a producer working with an artist on a record, but it can be more or less applied to other situations as well.

Mentor/coach the artist – help them maintain a healthy and productive mental state, improve on weaknesses while maintaining their confidence and the morale of the team.  Push for more when needed, know when to back off.  See the threshold of an artist or situation – what is the best that can be achieved?  How much is too much, when does pressure becomes detrimental?

Help select the best material from the artists long-list of work, suggest collaborators and/or other material to fill in any holes.  Artists may bring a massive collection of songs and sketches to the table, and that needs to be mined for those rough diamonds.  Sometimes, there might be a shortfall, and they need to be encouraged to write more, or find alternatives such as covers.  In some cases, the artist may benefit from working with an additional collaborator – another songwriter or lyricist.  This is a very delicate situation, where the artists confidence is in jeopardy.   A producer is like a doctor – what is their bedside manner?

Help develop the material/artist, improve arrangements, define a direction.  Some songs might still be sketches, need a chorus, a bridge, a hook, or some other X factor – a sound effect, or production style.  The material may be in a very simple sketch form, and the producer will help arrange it for band, and suggest instrumental parts that enhance and define – a brass section or string quartet for instance, or even decide it should be for voice and guitar only.

Help determine (and then maintain the consistency of) the sound of a project – what instruments, styles, materials and methods are going to be used to achieve a specific result?  A Death Metal band will require vastly different production styles and materials than a Bluegrass band.  The producer has to have a big-picture, overarching view of the project as a whole.  A producer’s mind is an encyclopedia of techniques and technical knowledge, as well as an idea factory that can problem solve quickly and effectively under pressure.

Guide performances – create a situation that brings out the best in an artist.  This involves more coaching – knowing the psychology of your artist – knowing what they’ll need and providing it before they ask.  This might involve creative problem solving to make them feel more comfortable in the sterile studio environment, or finding an amazing instrument that helps their playing.  It also means saying “don’t worry – it’s all taken care of”, and putting out fires, handling problems, and generally making it seem smooth, seamless, and fun.

Bring it together -  Select the appropriate studio(s), players, collaborators, equipment and instruments, engineers, which will help to contribute to that final sound.  Great producers are very well connected, and have a vast network of musicians, engineers, and resources to select from.  Once you have great material, and great people to perform and record it, very little can go wrong.  On the other hand, the wrong person for a gig can sap time, creative energy, morale, and money from a project.

Perform on the record – many producers are also excellent artists and musicians in their own right and can leave their mark on a record in a very tangible way by contributing musical material.

Oversee the entire record production process from tracking to mastering, and make hard decisions when something isn’t working to toss out, move on, re-invent, overhaul, start-over, salvage, etc., while maintaining high morale and creative effectiveness.  If something isn’t working or can’t be saved, the producer’s ‘bedside manner’ is incredibly important – the artist and the team must never feel that all is lost or that something horrible has happened – it has to feel like a positive part of the process, and that progress is being made.

Stay out of the way when necessary – sometimes, a producer’s job is to shut up and stand back – let the process happen on it’s own and only gently course correct as necessary.  To much messing around can destroy natural organic performances, and too much control can crush the creative process, and the ‘happy mistakes’ that you want to occur.  The producer must also be able to see those for what they are, and jump on little opportunities that others might miss.  They have to know what take has magic in it, and not overtax the artist with too many options or extra work that doesn’t need to be done.

That’s a take!

There are so many variables in the making of a musical recording.  What I’ve talked about here is based on some of my experiences, and many conversations with those much more experienced then I.  What do you think the role of the producer is/should be, and what are your experiences in producing or being produced?