In two weeks the U of T musicians will be visiting us, with their purpose in mind being specifically to work out the details of the musical score for your film. This important meeting between film-maker and composer is traditionally known as the the "Music Spotting Session."
To help you prepare for this meeting, Wednesday's Lecture and Workshop are both oriented to an explanation of the Music Spotting Session.
(You might want to also read this recent blog posting by Mark Kennedy, Disney's Head of Story. He talks about the importance of spotting temp music while working on the Leica reel, links to some interesting examples of the use of musical score. Thanks to ames Caswell for pointing out this blog to me.)
LECTURE
A while ago I wrote the music for Chris Walsh's stop-motion film, True Family Story. We recognized our collaboration as a "teachable moment", so I saved the files I created as the score developed. These files now make a very effective demonstration of the collaborative process between a film-maker and a composer.
This year I'm supplementing the talk with examples from a more recent project, Save Our Bees, a Public Service Announcement animation, with music in the style of the Warner Bros classics.
During the lecture (11 am, S235) I'll walk you through the three stages of the Music Spotting process as it took place in recent work, and play for you some famous and not-so-famous historical examples of "Temp Music" and musical scores.
WORKSHOP
The 2 pm workshop (A151) gives you a chance to "spot" your own film with me and the other students. Consider it practice for the real spotting session with the U of T musicians when they visit on February 4.
This is also an opportunity to bring & discuss any demo music that you might have already received from your composer or other musician working on your film. Copyright issues relating to the use of pre-recorded music will also be discussed.
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