Adrian Ellis' The Music Creative

The Mysterious Mobius

I was recently asked to produce a music/sound score to an installation exhibited as part of Scotiabank’s Nuit Blanche 2009 in Toronto.  Billed as  ‘a free all-night contemporary art thing’, it transforms the city for a 12 hour period, as over 500 artists use public, gallery and ‘unexpected’ places to exhibit their work.  If you’ve ever been, you know it’s a blast and absolute magic – and for me, getting to be a part of creating that magic was very exciting.

Jason Leaver’s “Mobius” is a mysterious piece – a video installation with four independent screens facing one another in a quadrant, each playing the same film footage at an offset of %25, and looping perpetually.  The film itself follows a loose narrative, with no real beginning or end – a man is caught in a series of actions and events which lead him inexorably back to where he “started” – a sort of time/space shift where he begins his “loop” again.  The real brilliance in the piece is how the film interacts with “itself”, via the screens and the offset.  The character of the man is at times aware of and interacts with himself at different points in the loop – we are never sure if he is aware that it is himself.  These points sync with one another in each screen;  while one uses the phone, the other answers, while one calls out, the other can see and hear a shadowy figure across the way, calling out.  Once the installation is running, it is a compelling concept – the character seems to ‘reach out’ out of the time-space of film, across the space of the exhibiting area and the viewer, to communicate with himself in another time.

My first challenge was to decide what the music was going to address:  the character and his motivations, or the conceptual, formal aspects of the film?  In the end I didn’t want to make too much of a statement on the piece itself, and rather treat it in a strictly formal way – enhancing the mood of the piece and offering moments of focus that aligned with the action while interacting with the other screens/events.  I began by sketching out the action on paper, plotting out the events, and producing a “quad” time-line to see  interactions and relationships.  I liked the idea that to a certain extent, the final result would be left to chance, and so I began experimenting with sounds and processing.  I responded to the feeling that I got from the footage: the grim, urban colors, the emptiness, sense of foreboding and confusion, and the eerie surrealist quality of the ’story’.  To address the idea of temporal loops  (real or imagined/metaphoric), I played with reversing some material, and gave the whole a reverb drenched, desolate quality.  Heavily processed violas and oceanic guitars seem to moan and cry from afar, while the sound of an ancient ceiling fan I a sampled and shifted down 3 octaves, rumbles ominously but nearly imperceptibly below.  Strange and alien motifs ring out in murky space, drawing the observers attention around the quadrant to correlating events.  Once I laid up the first draft , I realized that even a small amount of material will sound tremendously busy and overwhelming when stacked 4 high, and so I had to revisit the material and cut out a large number of elements.  Eventually, I found the balance that resulted in an extremely sparse track on it’s own, but worked when played in the quadrant.

Check out Mobius at Scotiabank Nuit Blanche 2009, Zone A Independent Project, Oct. 3rd in Toronto!

Photo by Paul likes pics

I wanted to share some of my thoughts on mentors and internships, as my own experiences have been very powerful and rewarding.  Looking back, I was surprised by how little I knew about the value and process of mentoring and having a mentor.

I was very fortunate to take part in the Guild of Canadian Film Composers Apprentice/Mentor Program, and to have been matched with a mentor (the singular Donald Quan) who challenged me in all the right ways.  I spent most of my six week internship in a state of constant terror – I was repeatedly thrown into the deep end of the pool and expected to swim, but had a chance to ‘crash and burn’ in relatively safe environment.  The amount that I learned and the things I experienced in that time could not have been gained any other way, and certainly nowhere as quickly.  It was learning and doing on the edge!  I learned some hard lessons very fast, and discovered holes in my game.  I also learned my strengths, and found out how far I could push myself and the depth of my endurance and perseverance.

My experiences showed me that some of the most important elements in building a career in a creative field are time spent interning, and establishing and building relationships with mentors.  These are certainly very important in industries which require a tremendous amount of time and luck to ‘break in’, and where a single introduction can mean the difference between having a career or not.  If you look at the careers of most accomplished creative people, the odds are very high that they had a mentor (in many cases, more than one) who played a big role in that success.

So -  what are mentors and mentees, what is their relationship, and what is the function of an internship?

A mentor is typically described as a person with considerable experience in a field, who acts as a guide, counselor, and trusted friend.  In many ways, a mentor can also be a coach.  To what degree a mentor is any one or combination of these things depends largely on their personality and style, and what they think they should be providing.  The internship process is very intimate, and the experience can vary quite a bit from situation to situation.  A mentor may give advice, counsel on career direction and big decisions, and help during challenging times.  During the internship they can provide opportunities to see behind the scenes and even to get one’s hands wet doing work at their level.  They can open doors by introducing a mentee to people in their network, and (if one is very lucky!) provide work.

An intern or protege’s role can be as varied as the mentor’s, and again depends on the mentor and what their expectations are.  During an internship, a mentee is there to be a human sponge, soaking up as much information and getting as much experience as possible, while at the same time doing whatever asked of them by their mentor.  How much one gets out of the deal is largely up to the mentee – one has to be willing to trust their mentor and accept what they are shown, and find value in every bit of advice and every task given, no matter how seemingly mundane.  What a mentee provides a mentor might be as simple as assistance in some area (read – grunt work!), anything from clerical to organization to actual creative work.  Further, for anyone that has worked in any capacity as a coach or teacher, you already know there is great reward in helping someone and fostering a career, especially if they are eager and passionate, open, and willing to learn and try new things.

Here are what I believe are some important traits of a successful mentor/mentee relationship:

Trust and openness

One must trust one’s mentor, and believe in them.  One also has to be open to what they have to say and show you.  Some of it may shock you, some of it may seem “irrelevant”, and may even run counter to what you thought was true about the industry.  Be open to a different point of view – you can evaluate your experiences afterward, but if you don’t allow yourself to be open, you won’t learn.  Don’t go into it thinking you ‘know better’.

A passionate desire to get involved in anything

Jump in!  Don’t hesitate!  Say yes!  This is a time to learn and try things out.  You are still in a place where you can make mistakes without terrible consequence.  Don’t say no to things because you don’t think they aren’t valuable or you’ve “done it before” (you might just learn something new!) and definitely don’t let fear guide you.  If you feel overwhelmed, scared, and just a little out of your depth, you’re doing it right!

Active seeking

Show you are looking to learn, looking to improve.  Don’t sit and wait for stuff to happen – get involved and create opportunities.  Think of ways to give back even as you are being given so much.

Awareness

Make leaps of thinking and faith, see how things connect, and be on the lookout for any opportunity.  Don’t let your brain sit idly while someone leads you by the hand.  Things that may escape the notice of someone not aware and processing their experiences may turn into wonderful things down the road.

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If you have the chance to experience an internship or you have met someone who is willing to be a mentor, I think you’ll get much more out of your time if endeavor to be the best protege possible, and develop and show the above mentioned traits.  It will also show your level of committment and that you respect and value the opportunity.

Do you have any happy or horror stories to share about mentors, mentoring, and internships?

"Converse"

Photo by haydnseek

Producing music and sound design for live theatre presents some of the most unique challenges you can face as a creative composer, especially if you are used to working in the linear medium of film or TV.  There are some similarities, but also a number of important differences, which offer surprising opportunities and rewards.

Won’t Get Fooled Again

As a composer for media, you can get seduced into thinking your music is better than it actually is, if you compose while running picture.  Just as music can lift a scene, in turn the film (acting, dialogue, and the cinematography) can very much lift the music, giving it importance and meaning that may not be inherent!  This is one of the big lessons of working in theatre, where you are forced to work away from the scene – you can’t take it with you, and it’s going to change anyways!  In order to work ‘away from picture’, you must absorb the scene and have a complete handle on it, both in terms of the emotion/mood/story/meaning/etc, and the exact timings for ‘hits’ and changes.  Once you have those nailed down, you can focus on writing strong music.  When you bring back your work and line it up, you can then make any necessary adjustments, but your mind will no longer be seduced or divided – you’ll be confident knowing that you focused on writing great music, and now can focus on making sure it works to picture.

Equal and Opposite Reactions

One of the first things that is apparent before you even begin working on any production is that things are always in a state of flux – as the show moves towards opening night, it becomes more and more polished, tight, and predictable; however, even during a run it can still change and evolve in subtle ways.  The actors find new motivations, hook onto some energy of a particular night, and develop their characters and relationships as they grow through the show.  In film, the composer will usually score a ‘locked’ picture (or something like it) – the scenes are static – a performance is frozen in time and will never change.  On the stage, a scene will never be repeated exactly the same way.  The actors respond and react, they find inspiration, they expand and contract.  In film, when you put your music against a picture, you can have a powerful impact on the reading of that scene.  In theatre, there is an additional layer – once you bring music into the ‘picture’, they respond and react to it, changing the impact even further and more deeply.  One of the most rewarding aspects of working in theatre as a composer is that you become involved early, and are truly one of the team – a group that becomes very close as the show progresses.  You create in response to them, and they in turn to you – it’s a very organic and multi-layered process.  There is a great thrill in watching an actor ‘hit’ their mark, and use your music to leverage their performance, in turn making your music work in new, different, and often better ways.

Tick-tock tick-tock

One of the advantages of a locked picture, a static and unchanging scene, is that you can write cues with to-the-frame accuracy.  Trying to ’spot’ a scene in a play is kind of like trying to hit a moving target – an amorphous mass that congeals as rehearsals progress.  It starts loose and improvisational, and slowly becomes more polished and exact.  When you begin the process, it’s nearly impossible and pretty much useless to try and time out scenes and ‘hit’ any points.  As the rehearsal process progresses, you then can sit in the dark with a stop watch (bring a flashlight!) and scribble notes furiously.  Create a cue sheet, much like the one you would use for a film, which includes Act and Scene, page number, line cues, length, and notes on the music itself.  You will need to be very integrated in the team, and have an ongoing communication with the Director and the Stage Manager, and whoever is ‘running’ the show in terms of audio.  As things develop and change, everyone needs to be on the same page – the chain of command is important here as well – you will not be approaching an actor with a request that they speed up their monologue because your cue is running out.

Designing Sound Environments

Another aspect to working in theatre is that you may also be the sound designer for the show, depending on the budget.  This means you will need to have at your disposal the means to create sound environments and cues.  This may range from extremely ‘natural’ (trying to create a sense of time/place/space) to very abstract.  Sounds may come from a production library, or from field recordings you capture and manipulate yourself – everything from a doorbell ring to the sound of a dog barking in the distance, a crowded bar or a street scene, music playing on a radio or waves lapping on a shore.

Test Drive

Once you have assembled your cues and applied the necessary treatments, they will be tested and adjusted for the space itself during ‘tech week ‘  – when the show is run in the theatre space, with complimenting lights and sound (aka ‘wet cue-to-cue’).  All technical adjustments are made here – crunch time!  Whereas in film you ship off the final mix for dub and don’t have to worry about how it will sound in the theatre, it is your job to make sure everything sounds as it should in the space and on the system the space uses .  From the very beginning, you should make yourself familiar with the sound system and how the sound will be run – samples triggered via midi?  Run off of a laptop using a cuing program like Q-Lab?  Via a two-deck CD player?  These things become extremely important once you hand over the sound to the sound tech running the show – you want to make it reliable, fail-safe, easy, and effective.  During cue-to-cue, you’ll be calling out changes – volume up/down by how many dB?  Cross-fade longer/shorter?  And so on…

This is just a very introductory overview on designing sound and music for theatre – there is a lot more to know and learn!  If you are intereseted, a great resource  is Sound and Music for the Theatre: The Art and Technique of Design, Second Edition by Deena Kaye and James LeBrecht.  It covers every aspect in great detail, and is a good reference for someone familiar with audio and music looking to get into theatre.

What are some ways that you branch out and expand your artistic and technical horizons?

Photo by Gaetan Lee

I’m a big fan of seeing people succeed at whatever they are passionate about.  To me, it is in a way like watching an athlete perform – there is an elegance, a beauty, a truth in the Universe in the movement and their grace.  They flow – they are in their element.  It also gives you hope, because if they can do it…

A common challenge for creative people is the lack of support they encounter as they build their career.  Amazingly, the most likely source of support is from strangers or acquaintances.  I believe that the hesitation of family and friends to pledge unconditional support does stem from a place of love and concern, but it manifests itself negatively almost every time – as judgment.  We see someone about to take a risk, and we are worried – moreso because we judge creative risks to have a low ‘return on investment’, so to speak, and that it’s a ‘waste of time’ or will end badly (drugs, depravity, desperation – you guys are creative types – you know how we live).

Which Witch is Which?

I think one of the big challenges in trying to lead a fulfilling life is learning to tell the difference between Fears - those things which make you afraid because they are actually dangerous and/or a bad idea, and those which you fear because they are new, different, challenging, and may result in (GASP) ‘failure’.  If you ask an entrepreneur, these last are called ‘opportunities’, and ‘failure’ is simple a natural part of the journey to ’success’.  There is no easy way to learn to tell the difference – it’s a matter of being very honest with yourself and listening to your intuition.  You will eventually be able to judge your fears with good accuracy, and I’ve made it a recent habit to always say ‘Yes’ to doing things which terrify me for all the right reasons.

What does this have to do with support?  Well, a lot of people don’t know how to tell apart their fears, and their fear for you takes over – that you’ll fail and be unhappy, that you’ll end up in a bad place, that you’ll blow the family fortune, or even (and possibly more often than you’d expect) that you’ll be a big success and they’ll feel lousy for not having taken a chance on their dreams themselves – dreams which they let die long ago for all the wrong reasons (fear of ‘failure’, being pragmatic).  Now, I’m not saying people should enable foolhardiness – again, this is one of those times when you have to see fear for what it is – is there a justifiable reason you are afraid?

Hector Projector

Now, by virtue of who this blog is intended for, I doubt I’m going to convert anybody who is not on a creative endeavor into being a Champion of the Dreamer.  But I think it helps to know where they are coming from – that fear.  It’s not really about YOU, it’s them and their own ’stuff’ that they are projecting on to you.  So what to do?

Do everything from a place of love.

Do it for yourself, don’t rely on outside support to do what you do.  Treat it as a nice ‘extra’ if you do receive it, and cherish and nurture that in people – it’s a rare thing.  That’s important too – to realize it’s not a given that people will support you.  Learn to give yourself support by judging your own stuff less critically, and by letting the work be a reward in itself.  And, even more importantly – GIVE AWAY WHAT YOU WANT – if you want support, support others.  It’ll come back to you, in such abundance it will surprise you.  It’s one of the weirder laws of the Universe – if you want something, give it away.

Quack quack

Let the negative roll off your back (you were wondering what the heck ducks had to do with this, eh?).  I mean really: let it roll off and dissipate (no baggage hanging around for future bitterness) – and this is a challenge.  Let it go.  Again – it’s not easy and it does take practice.  But if you are going to succeed, you are going to have to keep at it – and if you are going to keep at it, you’ll need to build thick skin – for rejection, and for those who just don’t really care about you or your work.  Work hard, but learn to move on quickly if you’re not getting anywhere.  Approach things without expectation and with no emotional attachment to the outcome – do it for what you love to do, not for what you think you should get.

No Island

But that’s only part of the picture – you need some sort of sustenance, support – you can’t be completely self-sufficient, you just won’t make it all alone.  Seek out you champions and supporters.  Actively look for people and groups that are aligned with your values and goals.  They will become your support structure, and provide guidance and direction when you need it.  Find a mentor in your field – they will help you in real ways that others cannot – on an emotional, and practical level.  Surround yourself with positive, inspiring, motivated people who themselves have goals that they are not giving up on.

Come on people now, smile on your…

Finally, I really want to encourage everyone to… ah… encourage everyone!  Try to jump in with genuine excitement and enthusiasm the next time someone describes their latest pet project, album idea, business plan, film treatment, or whatever.  It’s a small thing, but having that support, even a token ‘Sounds awesome!  Go for it!’ can make a huge difference to opening up creativity and improving chances – don’t perpetuate limiting beliefs – perpetuate passion, creative energy and love.

OK, time for a group hug!  … and maybe some Gravol for the nausea?

The Spotting/Cue Sheet in progress...

Being organized is glamorous and sexy!

… well, maybe if you wear a sequined dress while filing (remember to shave your pits if it’s strapless, gentlemen)…

The spotting session is one of the first things a director and/or producer will do with the composer on a project. During this session, which usually lasts 3 – 8 hours, you watch a fine cut of the film. Scene by scene, frame by frame, the filmmaker will talk about what they want in terms of music – the style, genre, mood, emotion, dynamic, and importantly the function of the music in a scene. The composer takes detailed notes, usually saying quite little, unless asked for input.

Whadda I do with this chicken scratch??

Something I learned while apprenticing was the value of creating a Spotting Notes/Cue Sheet document. This document is the distillation of your notes and lays out the detail of every cue: for each act, for each reel. It contains all the ‘vitals’ including timecode IN and OUT points, length of the cue, format and output notes, and notes on what the director wanted, as well as your ideas. When you are finished, it is your Holy Bible for your score on this project; at any point, you will know EXACTLY where you are at, and what you need to do. You’ll even know, pretty much exactly, how much music you need to write.

Spotting notes should be transcribed as soon as possible, while still fresh in the mind. If left too long, there may be trouble interpreting ones own notes, and one doesn’t want to appear flakey by calling and asking what the director wanted over the speedboat chase with the explosions again? Solo oboe?

Here are some things you’ll find on this type of Spotting/Cue sheet:

Cue Number – more details on this in a moment

Cue Name – something that will bring to mind what is happening and what the cue is for. Some composers are famous for their hilarious cue names.

IN and OUT points – when you review the film, make sure you tighten up your IN points to the frame!

Time - the total length of the cue

Notes – what the director said… what you thought of – your brilliant musical ideas. The scene – what’s happening? Function – what is the music supposed to do – from the mundane to sublime.

Other things – A/B reel indications, Stereo/5.1 etc., and Type – source, library, location, song, etc.

When you are in the heat of creating music under a deadline, this little bit of non-creative housekeeping can save you time and mental strain. You can forget about keeping any data on how a cue relates to something two acts down the road, because you already made detailed notes on this. You know that you have finished 12 cues and 23 and 1/2 minutes of music, and have 7 cues and 16 minutes of music left to write. You made a note that cue 2m06 will be mirrored in 3m01, so you should write that now which shouldn’t take long since it’s just a slight variation. The cue sheet is key to freeing your mind to do the creative work of writing music, while making you efficient and organized. I personally believe it will make your score better, because you’ll have laid out the framework of the WHOLE score, and can see it from a distance. This helps you keep track of how the score fits together as one musical thing, as opposed to a procession of unrelated cues written without a solid plan which was thought out in advance.

Do you use something like this when you work?   Any other time-saving, insanity-offsetting practices you employ?